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COPYRIGHT DEPOSIT. 



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The Blue Book of 
Men's Tailoring 



Copyright 
CROONBORG SARTORIAL CO. 

New York-Chicago 
1907 



II 








IV 



GR^Miy EBITIOH 



°/ 



SUPREME SYSTEM 



FOR. PR.ODUCING 
MEN'S GARMENTS 



SCIENCE 




By 
Frederick T. Croonborg 



Published by the 



CROONBORG S^RTORIJiL CO, 



1181-83 Broadway 
NEW YORK 



183-189 Dearborn St. 
CHICAGO 






LIBRARY of CONGRESS 

Two Cooles Received 

JUL 9 190? 

yj OooyiirM Entry 

ytCL^f 6'./ 907 

^LASS 'a. XXC, NO. 
COPY B. 



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1 



Introduction 



When Eve, in the Garden of Eden, fashioned the first garment worn by one of the human race, 
there is no doubt that in weaving the leaves together she used some method which was to her mind 
the best way to produce the apron which was the progenitor of the multitude of garments which have 
followed it. 

Ever since the earliest times there have been "systems" in cutting, and the brightest minds, the 
most earnest students of the centuries have devoted their energies to finding a set of mathematical 
rules which would produce, for the making of garments and the fitting of the human form, an infalli- 
ble method. 

For the foundation of the science of garment cutting some sort of a system is necessary. The 
human body follows approximately the same lines, even when the variations of stature and curva- 
ture are extreme, and the average proportions of the different members may be reduced to a set of 
tables which will serve as a ground work on which to erect the superstructure which produces the 
perfect garment. 

In so many years of study there have been evolved many different methods whose goal was the 
same. Most cutters are firmly wedded to the arrangement which has secured for them the result 
they aim to achieve, and would in many cases destroy any other. Every one praises the bridge that 
supports him over the stream although there may be many weak points in it which would not bear 
the weight of others. 

The originator of a system of garment cutting, through the very study to prepare himself and 
the observation and trial to which he must subject his system, is eminently qualified to judge of the 
strong and weak points of any method, and if the personal element and the just pride in his own 
work could be eliminated, would usually be an impartial critic. But this is too much to expect from 
a mortal. 

Every system has its strong points, each its weak ones. 

The earnest pioneers in the science, who gave their best thought and work for the benefit of 
succeeding generations, are worthy of all honor, and to each student who has discovered a new and 
easier way to do a hard thing due credit should be given. 

The object of this work is, therefore, not to condemn previous efforts, but rather to acknowledge 
their value as pioneers, enabling others to take up the science where they left off, and thus, building 
block by block, the edifice will in the end be a beautiful and worthy one. 

If all men were cast in one mold, or if all were clothed with the same material, it would be 
easy to produce an ideal system, by which a cutter could with his square and tape line, following 
exact mathematical rules, construct garments which would be absolutely satisfactory to his customer. 
But as men are of different minds, of varying proportions, and choose to clothe themselves in a 



diversity of materials, the author by a simple system has laid the foundation which produces a gar- 
ment for the normal male figure, then shows how his pattern may be changed to meet the requirements 
of taller or shorter, larger or smaller than the average, or to cover defects of figure. 

Theory Justified 

We have heard of good as well as bad cutters. 

We have seen two persons working at the same cutting board with entirely different results. 

We have seen proportions used with good effect where direct measures have failed, and vice versa. 

We have seen cutters using long measures who were fairly successful, when others were absolute 
failures. 

Yet in response to all inquiries as to the reason for these varying observations the answer is — 
be sure to obtain proper balance in the garment. This will rectify the greater portion of the errors. 

Balance in garments seems to be the great center for arguments and theories in this profession 
and the diversity and confusion of ideas in this respect is astonishing. Therefore, it is a positive fact, 
as well as a necessity, that a cutter should thoroughly understand the scientific part of garment 
cutting as well as the artistic. 

Science and Jirt 

In going down to the root of these two words, we find that Science means knowing, while Art 
is simply doing. Art is the work or task, while Science is that which guides and regulates the work. 
Science shows us how things should be done and why they should be done. Science illustrates to us 
cause and effect (variations), and Science is, therefore, the fundamental part of garment cutting. Art 
can only reach excellence as a product of Science, and there is no true Art without the proper exer- 
cise of Science. Consequently, Art is doing; Science is knowing how. We cannot do things unless 
we know how to do them. Therefore, the secret of high achievements is to be found in Science or 
system. 

The Supreme System 

The Supreme System is based on the above stated principles, and is composed of Proportions 
and Variations (Science) coupled with a methodical way of taking and applying direct measures. 
Short or direct measures belong to the artistic part of our work for the reason that measures are 
more or less subject to judgment and anything that is a matter of judgment should be classed with 
the artistic part. 

Proportions 

Artists and painters always require a model from which to draw the fundamental part of their 
product. This is also true in Sartorial Art, and the ideal model for Supreme proportions is that of 
an Apollo, 5 feet 8 inches in height, weighing 135 pounds, which practice has demonstrated will 
measure 36 inches around breast. Furthermore, this subject is absolutely normal in every respect, 
including shoulder, circumference, etc. Therefore, in selecting a model for practice we choose the 



Contents. 



Page. 

INTRODUCTION 1 

Theory Justified 2 

Science and Art 2 

Supreme System 2 

Proportions 2 

Height 3 

Circumference 3 

Exaggerations 3 

Variations 4 

Direct Measurements 4 

Block Patterns 6 

Individuality 6 

Fashions 6 

THE SQUARE 7 

Diagram of the Square 9 

The Tester 8 



THE SYSTEM. 

How to Measure, 12 ; Diagrams 13 

Sack Coats, Description 14 

Sack Coat, Fashion Plate 15 

Sack Coat, Systematical Outline, 16; Diagram.. 17 

Sack Coat, Proportionate, 18; Diagram 19 

RELATIVE HEIGHTS, 20; Diagram 21 

Breast Measures by Weight and Height, Propor- 
tionate Table 22 

Waist Lengths for Coats and Full Length of 

Coats, Proportionate Table 22 

CIRCUMFERENCE 23 

Sack Coat for Corpulent Figure, 24; Diagram. . 25 
EXAGGERATION, Sack Coat, 26; Diagram.. 27 
Sack Overcoat, Single and Double Breasted, 28 ; 

Diagram 29 

Frock Coats, Single and Double Breasted, Fash- 
ions 31 

Frock Coat, Outline for Body, 32; Diagram. ... 33 
Frock Coat, 3-Button, Single Breasted, 34; Dia- 
gram 3ri 

Frock Coat, Double Breasted, 36; Diagram i7 

Frock Coat, Corpulent, 38; Diagram 39 

Frock Coat for Stout, 40 ; Diagram 40 

VARIATIONS. 

Definition of Types, Illustrated 41 

Incline 44 

Head, Forward and Back 45 

Stooping and Erect 46 

Large and Small Blades 47 

Sloping and Square Shoulders 48 

Long and Short Neck 49 

Sleeves, Proportionate 50 

Sleeves, Stooping and Erect 51 

Sleeves, High and Low Top bl 

DIRECT MEASURES. 

Direct Measures, Diagram 53 

Application of measurement 55, 56, 57, 58, 59 



Page. 

Hunchback, 60 ; Diagram 61 

Overcoat, Fashion, Description 62 

Overcoat, Fashion, Illustration 63 

Box Overcoat, E.xaggerated, Single and Double 

Breasted, 64 ; Diagram 65 

Overcoat, Single Breasted, Newmarket 66 

Overcoat, Double Breasted Surtout 67 

Overcoat, Inverness, 68 ; Diagram 69 

Full Dress, Fashion, Description 70 

Full Dress Fashions, illustration 71 

Full Dress Coat 72 

Full Dress Coat without strap and lapel seam, 

72 ; Diagram 73 

Tuxedo, or Dinner Coat, Fashion, 74; Diagram. . 75 

Cassock, 76 ; Diagram 77 

Direct Measures from Heights and Circumfer- 
ence, Proportionate Table 78 

Theories and Practice 79 



VEST SECTION— 81-91. 

Front lengths for Vests, Proportionate Table.. 82 
Waist length of Vests, Proportionate Table. ... 82 

Vests, Fashion, Description 83 

Vests, How to Measure, 84 ; Diagram 85 

Vests, Proportionate, Single and Double Breast- 
ed, 86 ; Diagram 87 

\^ests for Stout Figure, 88 ; Diagram 89 

\''ests. Double Breasted, with Lapel Front 90 

Vests, Full Dress, with small waisted effect. ... 90 
Vests, Double. Breasted, with separate lapel, 90; 

Diagram 91 

Vests, Clerical 98 

VEST VARIATIONS. 

Stooping and Erect 92 

Large and Small Blades 93 

Sloping and Square Shoulders 94 

Long and Short Neck 95 

Vests, Notched Collar for Corpulent Figure, 96; 
Diagram 97 

TROUSERS SECTION— 99-124. 

Inseam of Trousers, Proportionate Table 100 

Rise in Trousers, Proportionate Table 100 

Trousers, Fashion Illustrations 101 

Trousers, How to Measure, 102; Diagram 103 

Trousers, Proportionate, 104; Diagram 105 

Trousers, Peg Top 106 

Trousers, Dress 107 

Trousers, Corpulent, 108; Diagram 109 

Long and Short Front 110 

Open and Closed 110 

Large and Flat Seat Ill 

Bow Leg and Knock Knee Ill 

Combinations of Variations. 112 ; Diagram 113 

Combinations of Variations, 114; Diagram 115 



Contents — continued. 



Page. 
Knickerbockers, with Cuff attached, 116; Dia- 
gram 117 

Riding Breeches, 118 and 120; Diagram 119 and 121 

Spring Bottom Trousers 122 

Broad Falls 123 

SpHt Falls 123 

Overgaiters 124 

Leggings 124 

MILITARY, LIVERY, SPORTING AND OUT- 
ING GARMENT SECTION— 125, 167. 

UNIFORMS FOR OFFICERS U. S. ARMY. .126 

Full Dress Coat, Description 126 

Dress Coat, Description 128 

Service Coat, Description 128 

White Coat, Description . . 130 

Overcoat, Description 130 

Capes, Description 132 

Full Dress Trousers, Description 132 

Dress Trousers, Description 132 

White Trousers, Description 132 

Service Trousers, Description 132 

Dress Breeches, Description 132 

Service Breeches, Description 132 

Evening Uniform, Description 134 

Aless Jackets, Description 134 

LTniforms for Enlisted Men, Description 134 

Line Officer Full Dress, Dismounted, Illustra- 
tion 127 

Social Dress Uniform, Illustration 127 

Field Officer, Mounted, Illustration 129 

General Officer, Illustration 129 

MiHtary Overcoat, Illustration 131 

Military Cape, Illustration 131 

Dress Uniform, Illustration 133 

Summer Uniform, Illustration 133 

Chaplain, Illustration 135 

Knight Templar, Illustration 135 

Frock Uniform for Army Officers, Mounted 

and Unmounted, 138; Diagram 139 

Military Blouse, 140 ; Diagram 141 

Military Overcoat, U. S. Army, 142 ; Dia- 
gram 143 

General Officers' Dress Uniform, 144; Dia- 
gram 145 

Circular and Military Capes, 146; Diagram. 147 

Regular Capes, 148 ; Diagram 149 

Clencal Coat 150 

Knight Templar Coat, 150; Diagram 151 

Coachman's Coat, Single and Double Breasted. 

152 ; Diagram . . .\ 153 

Footman's Coat, 154 ; Diagram 155 

Automobile Ulster, 156; Diagram 157 

Chauffeur Sack Coat 158 

Policeman's Blouse 159 

Policeman's Frock Coat, 160; Diagram 161 

Norfolk Jacket, 162 ; Diagram 163 

Golf Coat, 164 ; Diagram 165 

Riding Coat 166 

Hunting Sack 167 



INDIVIDUALITY SECTION— 169, 209. 

Page. 

Sack Coat Novelty 170 

Outing Sack Coat, Double Breasted, 172; Dia- 
gram 173 

Novelty Sack Coat, 1-Button, 174; Diagram. . . .175 
Novelty Sack Coat, 3-Button, 176; Diagram. . . .177 

Novelty Sack Coat, 3-Button 178 

Manipulation of front for corpulent or stout fig- 
ure 179 

Manipulation of Sack Coat Pattern 180 

Flaring of Overcoat 181 

Top Coat, Novelty, 182 ; Diagram 183 

Box Overcoat, Single Breasted, 184; Diagram.. 185 

Fur Coat, 186 ; Diagram 187 

Manipulation of Overcoat Pattern, 188; Dia- 
gram 189 

Frock Coat, 2-Button Novelty, 190; Diagram. . .191 
Frock Coat, 1-Button Novelty, 192; Diagram. .. 193 
Frock Coat, 3-Button Novelty, 194; Diagram. .. 195 
Frock Coat, Double Breasted Novelty, 196; Dia- 
gram 197 

Full Dress Coat, Novelty, 198; Diagram 199 

Newmarket, Double Breasted Novelty, 200; Dia- 
gram 201 

Collars and Lapels 202 and 203 

Sleeve Cuffs, Fancy 202 and 203 

Flaring of Skirt, Frock Coat 204 

Vest, Novelty Dress 206 

Vest, Double Breasted 207 

Vest, Single Breasted, Novelty 208 

Vest, Notched Collar 209 

Vest, Full Dress 210 

Dress Ethics 211 

CLOTH CUTTING— 213, 220. 

Lay for 3-Button Frock Suit 214 

Lay for Overcoat -I3 

Lay for Sack Suit 21 5 

Lay for Stout Men's Sack Suit 215 

Lay for Trousers 216 

Lay for Stout Men's Trousers 216 

Lav for Double Breasted Vest 217 

Lay for Notched Collar Vest 217 

Fittings for Sack Coat 218 

Fittings for Overcoat 218 

Fittings for Vest 219 

Fittings for Frock Coat 219 

Fittings for Trousers 219 

PRACTICAL TAILORING— 221. 

How to Make a Try-On 224 

Canvas for Coat 225 and 226 

How to Make a Pocket 227 

How to Try On 229 

How to Instruct the Maker 231 

Coat Making 233 

Vest Making 237 

Trouser Making 238 



\iii 



Preface 



The demand from the progressive members of the profession who desire to keep abreast of the 
latest developments in sartorial science and art, and the necessity for a permcinent record of the thought 
and work, both of the author, and of the thousands of earnest students, who, by the use of the Supreme 
System have attained success and have created many original ideas, has led to the publication of this 
third, enlarged, simplified and grand edition of the Supreme System of Garment Cutting. 

In presenting this volume to the public, the author believes that the following features of his work 
adapt it to the purposes for which it was designed. 

1. It contains no more than can be mastered by the average intellect in the time usually given to 
the study and acquirement of the Art of Cutting. 

2. It is thoroughly systematized. 

The order and development of subjects is thought to be logical and practical, and the arrangement 
of topics especially adapted to the best methods of Artistic Drafting. 

3. It is written and illustrated in accordance with modern theories and practice, and no pains or 
expense have been spared in the attempt to make it fully represent the present needs of the Art, so far 
as human ingenuity and deep study can obtain. 

In addition to his efforts to make these features prominent, the author has not forgotten that a 
student will succeed best when required to learn one thing at a time. He has, therefore, as far as 
practical, presented each subject separately and in natural order, like the successive steps of a ladder, 
leading to a height from which the student may have a clear and comprehensive view of the Science 
of Garment Cutting, and at the same time, let us hope, reach that Acme of Artistic Skill, which THE 
SUPREME SYSTEM makes easily accessible to those who desire to give serious thought and honest 
application to these pages. 

THE AUTHOR. 



i.\ 



Inspiration— 
''All Things Come To Him Who Hustles While He Waits 

Advice To The Student. 

The system set forth in this volume and its results are based on the experience of eighteen years' 
practical application, previous to its publication, in high-class merchant tailoring, not alone by the 
author but by hundreds of his successful students as well. The experience gained during these years 
of practice has revealed many improvements, and it is with the fullest confidence that the best results 
aimed at in high-class tailoring can be obtained from this system upon its proper application that I 
offer this volume to its readers. 

Personally I believe in man and have faith in his capacity to do just as he wills. I further believe 
that hesitation is a detriment to one's own interests and the creator of unnecessary thoughts which 
sap one's energies and waste one's brains. Therefore, the best advice I can give the student begin- 
ning the study of this volume is to have faith in the system you are about to learn. Confidence is not 
only valuable, but an absolute necessity in order that a student may maintain steady progress toward 
thorough qualification in men's garment cutting. 

The practical value of this volume lies in the fact that a realization of sartorial truths will make 
you stronger in your work. The right mental attitude is very necessary to success in this masterly 
yet simplified subject. Further, in addition to confidence in the system, you must have confidence in 
yourself so that you will be able to thoroughly absorb the details herein set forth. Be perfectly hon- 
est with yourself and honest in your application of the system, and, while the details are numerous, 
you will find that the farther you proceed the more interesting the subject will become. With confi- 
dence incorporate perseverance, and, while it must be admitted that it is not an easy task to learn to 
be a cutter, it is a gradual process from elementary to advanced attainments and qualifications. 

In order to encourage perseverance in the student, the first part of the work has been drawn up 
with scientific simplicity, for it would be a great mistake to study more than one thing at a time. It 
would be unwise for the student to branch off into disproportions or direct measurements before the 
elementary portion had been completely mastered. Therefore, the proportionate draft should be gone 
over and over again until its principles have been thoroughly acquired, and in this way, having 
secured the principal points, it will be a surprise to the student to recognize in the following drafts 
the same principles incorporated, while the subject of the different heights, attitudes and dispropor- 
tions, as well as direct measurements, will each in the proper order be thoroughly mastered. 

FREDERICK T. CROONBORG. 



original 36-inch normal. A proportionate subject measures 4 inches less at the waist than around 
the breast, and 1 inch more over the seat than over the breast. The measures for the ideal model 
for the Supreme System are, therefore, as follows : 

Height, 5 feet 8 inches. 

Weight, 135 pounds. 

Circumference of breast, 36 inches. 

Circumference of waist, 32 inches. 

Circumference of seat, 37 inches. 
In drafting we use the regular tailoring square (illustrated on page 9.) One side of this 
square shows the gradations and fractions of inches and the other side the full inches. By means of 
these divisions on the square we find the proportions for our ideal model, and by the same method 
we are able to produce any kind of garment with promptness and exactness. The beginner should 
first of all familiarize himself with the square. Inasmuch as the various divisions on the square are 
applied in the Supreme System, it should be thoroughly studied. Further, the application of divisions 
is so regulated that each pattern will have uniformity, and formulate the gradations of patterns 
in the different sizes, therefore necessitating that these divisions must be absolutely applied accord- 
ing to instructions, or else the grade will be lost. 

Height 

While 5 feet 8 inches in height is the ideal model, we constantly come in contact with the tall 
or short man. This, however, in no way changes the application of the divisions, but necessitates 
additions and deductions to depth of scye, waist length, length to seat, and in all probability also to 
the length of the garment. (As per instructions and illustrations on pages 20 and 21.) 

Circumferen ce 

While 4 inches is the normal difference between breast and waist, it must be understood that 
increase and decrease of waist must be treated in the manner illustrated and instructed on page 23. 
For corpulent on pages 24, 25, 38 and 39. 
For stout on page 40. 
For slim on pages 18 and 19. 
These illustrations and instructions should be given attentive consideration, as in corpulent and 
stout there are varying points relative to both circumference and depth of scye ; also, for the reason 
that they give the student a thorough understanding of the definition of slim, normal, corpulent and 
stout. 

Exaggerations 

Exaggeration is the scientific resource for enlargement of patterns. More or less exaggeration 
is incorporated in order to obtain the different effects the style demands. If half the cutters knew 
how and when to exaggerate they would have less trouble, and thousands of dollars would be saved 



in the busheling department. By the use of exaggeration the cutter is able to produce a coat as large 
in circumference as he desires, while the garment still clings to the neck, the goods drape propor- 
tionately around the body ; and, the armhole is placed in the right position and at the proper height. 
(See pages 26 and 27.) 

Variations 

Under this head we come in contact with many subjects that at first seem to be most complicated, 
but upon application to the direction and instruction from numerous illustrations on this subject, 
after study of cause and effect from the original draft, it will become a most simple, reasonable, as 
well as scientific, way of variations for the different attitudes and subjects a cutter is called on to fit, 
therefore, by giving attention and proper study to the types of forms (as shown in illustrations on 
pages 41-43), and fixing in one's mind the regular code of the types, and in that connection studying the 
mathematical drawing of variations of coats illustrated on pages 45-49, it will soon be plain that by 
applying the divisions in the usual way it makes it possible to produce a good pattern for any size or 
form of type, whether it be slim, stout, or corpulent, stooping or erect, head forward or backward, 
sloping or square shoulders, long or short neck, etc. 

However, careful study of attitudes is very essential so as to be sure that in actual practice they 
have been stipulated in the right direction. It is to be noticed that by working the ideal model in 
the various directions stipulated it will develop striking similarity in all patterns, indicating that, 
while the pattern has been swayed in various ways for the different types of forms, increases or de- 
creases of circumference, and different heights, it retains the symmetry of the original, insuring a 
well balanced garment for any form or type of man. Therefore, caution should be exercised by the 
cutter in stipulating the type, as it will be surprising to see how well a proportionate coat will fit 
most men of the same size. The alteration in most cases would be slight, even where the cutter 
may have stipulated the third degree of deformation of a certain type. It is not advisable to find 
fault with the form of the subject, and unless there is a positive inclination of a certain type, cut 
a proportionate pattern subject to height and circumference. 

'Direct Measurements 

I am a firm believer in fundamental principles, consisting of Supreme proportions. Height, 
Weight, Circumference and Variations for the different types of men as a regulation for obtaining 
symmetry and correct balance in men's garments. 

In discussing direct measures, what has been stated heretofore in this introduction in connec- 
tion with illustrations and instructions pertaining to fundamentals, contains the principles of the Sys- 
tem proper, inasmuch as it comprises the scientific part of garment cutting. Direct measures is a 
methodical way of applying measures over said proportions, variations, heights, circumferences, etc. 

In connection with these proportions, direct measures are of value, but direct measures cannot 
be relied upon, as a foundation in themselves, inasmuch as in applying measures to any part of the 
body judgment must be exercised to the utmost. 



There are, no doubt, experts who have by long experience accustomed themselves to particular 
methods, enabling them to take measures with great exactness, but that proves only their own skill. 
The fact remains that the great majority of cutters cannot handle the customer with the manner of 
an expert nor secure measures that are even approximately correct. 

No material progress in measuring has been made during the past twenty-five years and in 
view of my personal study on this subject for years, I have come to the conclusion that the object 
the cutter should have in view in cutting a garment should be to cut it so it will fit and clothe the 
customer gracefully. 

I am perfectly aware of the fact that it is an utter impossibility to be successful with direct meas- 
ures unless combined with the fundamentals, proportions and variations. 

The principal reason for this is that the form will not measure the same for five consecutive 
seconds ; a deep breath, a shifting of the weight from one foot to the other, or any other slight move- 
ment on the part of the customer not only changes his size, but so varies the relations of the points 
to each other that absolute measurements are unattainable. 

This, together with the difference of undergarments, renders accuracy out of the question. 

Any cutter who has ever placed a square under the arm of a customer knows very well that a 
slight pressure will easily make a difference of one-fourth to one-half inch, and who is the cutter 
who can measure the depth of scye, blade and strap twice alike with a tape and square where pro- 
portions are not stipulated to guide him. Young cutters are especially inclined to adopt methods 
which require many superficial measurements, and are prone to believe they should have a knowledge 
of anatomy to enable them to succeed. They strain their eyes in an endeavor to take measures 
to the sixteenth of an inch, and are happy so long as the measures are fractional. 

But in spite of all these uncertainties in measurements, direct measures are of great value in 
connection with proportions and variations, but they must be taken and applied in the manner de- 
scribed in the various diagrams on how to take them and WHEN and WHERE to apply them. It 
will then be readily seen that direct measures should not be used without fundamentals, which only 
goes to show that there is no true art without the proper exercise of science. For these reasons, in 
the Supreme System will be found a complete combination of Supreme proportions, Variations, 
Heights, Circumferences, Exaggerations and Direct Measures, hence the name the GRAND 
EDITION of SUPREME SYSTEM. 

Block Patterns 

Any man who thoroughly understands the system of drafting, measurements and applications, 
as well as exaggerations, and has the principles of variations, etc., can use block patterns with as 
much success as by drafting. This is especially true in regard to sacks and overcoats. It is also true 
that block patterns are safer to use than uncertain drafted patterns. The block, of course, would 
be used as a model, subject to variations and measurements, and the fact is that a good block in the 



hands of a proficient cutter will give the same results as drafting. It must, however, be understood 
that no man who does not thoroughly understand System and its resources can intelligently use 
block patterns. 

Individuality 

By Individuality, I mean the quality of being distinct or personal, and the extent to which a 
cutter is individual in his productions depends entirely on his artistic ability in connection with his 
scientific and practical knowledge of tailoring, as in the individuality of his productions he displays 
his special and independent personality. Toward this end the exaggerations and manipulations of 
patterns and a thorough knowlege of practical try-ons and draping act as his resources. These re- 
sources, in connection with the development of the latest styles, such as correct shoulders, placing 
of vents, the different positions of pockets, as well as collars and lapels, cuffs on sleeves, various 
lengths and the general effect of the prevailing styles enable a cutter to produce not only stylish 
garments but to display his own individuality as well. 

Another thing which should be given thorough consideration in this respect is the cutting and 
making of the canvas of the coat, as the canvas should be changed as often as the style demands and 
for the different individual effects and shapes of fronts. For this reason the canvas is a most im- 
portant factor in the production of individual and stylish garments. (See the Treatise on Practical 
Tailoring; also, study the lecture on "How to Make a Try-on and How to Try on.") Remember it is 
the cultured public which is to be gratified, and Individuality is the interpretation of Sartorial Art 
which embraces more than mere system. 

Fashions 

The style of yesterday, which may never return, would be useless, and the style of tomorrow 
would be impossible to foretell. For this reason no account has been taken of the fashion of the 
future in this volume, but every style, past, present, and future, is based on the scientific and artistic 
principles set forth in this work, and the fashion cuts adorning the pages of this work are, therefore, 
of the standard type of the time of its publication to serve as a foundation for whatever may be the 
style in the future. They are also valuable as an illustration of the finished product of the various 
diagrams and instructions, and, further, with the view of illustrating the regulations of dress for dif- 
ferent occasions, thereby serving as Dress Ethics. 



The Square 



Besides the yardstick, tape and chalk, the only device used in drafting patterns for garments is 
the square, and the square is the most essential device, for the reason that upon the various divisions 
illustrated on it, we find fractions of inches, which when put in practice, enable us to find the various 
proportions of the different parts of patterns, as well as enabling us to produce any size desired. 
Therefore, the square must be studied thoroughly by all persons whose ambition it is to begin the study 
of drafting, as without a knowledge of this square and its various divisions, nothing can be accomplished 
in drafting. A full knowledge of this square must be acquired first of all. In this connection it is well 
to remember that in producing patterns for garments of any kind the cloth is always laid double in 
cutting, while one pattern is used for both sides. For example: The front and back part are pro- 
duced, laid on double cloth and so cut out for both sides. Therefore, use only half of the breast or waist 
measure in drafting patterns. For example : If a person measures 40 breast, 20 is the figure on the 
divisions which is used, or if a person measures 36 breast, 18 is the figures on the various divisions 
of the square which is used, and so on. 

Now, let us take a general examination of the square illustrated. Notice the divisions on the 
long arm of the square, starting from the right angle. You will first find the twenty-fourths ; next, the 
twelfths ; then the sixths, and again the thirds, and finally the two-thirds of inches, all on the long 
arm of this square. Be sure you fix in your mind just where these divisions are located. 

Next, make a thorough examination of the short arm of the square starting with the right angle. 
First are the sixteenths, then the eighths, then the fourths, and finally the half inches on the short 
arm. Be sure you have fixed in your mind just where these divisions are located on the short arm 
of the square. j^a>** 

Next, take the regular square and study it together with the illustration. Be sure you thoroughly 
understand and know where to find the various divisions of inches. Therefore, study both illustration 
and regular square until you are satisfied that you have absorbed and know it thoroughly. 
Remember, in drafting you are using only one-half of the regular measure for the reason that you 
draft only one pattern and the pattern is laid on double cloth for cutting. 



The Tester 



To Draft 



Draw lines A-1, and A-L at right angle. 

The difference between the figures from A down 
to 1 is J/2 in. 

Proceed to square out the lines as shown in illus- 
tration from A down as indicated from -iS to 24. 

From A to L is % on the divisions of 48; 24 on 
the square. 

From 1 to 9 is % on divisions of 24 ; 12 on the 
square. 

Rule a line from L to 9. 



From A to H is ^ on divisions of 48 ; 24 on the 
square. 

From 1 to 8 is 3^ on divisions of 24; 12 on the 
square. 

Rule a line from H to 8. 



From A to G is % on divisions of 48 ; 24 on the 
square. 

From 1 to 7 is I3 on divisions of 24; 12 on the 
square. 

Rule a line from G to 7. 



From A to F is '4 on divisions of 48 ; 24 on the 
square. 

1 to 6 is J4 on divisions of 24; 12 on the square. 
Rule a line from F to 6. 



A to E is 1/6 on divisions of 48 ; 24 on the square. 
1 to 5 is 1/6 on divisions of 24; 12 on the square. 
Rule a line from E to 5. 



A to D is 3/^ on divisions of 48; 24 on the square. 
1 to 4 is 34 on divisions of 24; 12 on the square. 
Rule a line from D to 4. 



A to C is 1/12 on divisions of 48; 24 on the 
square. 

1 to 3 is 1/12 on divisions of 24; 12 on the square. 
Rule a line from C to 3. 



A to B is iV on divisions of 48 ; 24 on the square. 
1 to 2 is iV on divisions of 24; 12 on the square. 
Rule a line from B to 2. 



Now proceed to test the various divisions illus- 
trated on the square from 48 to 24, as in this tester 
you have all the divisions applied in the production of 
the various sizes for all kinds of garments, from the 
large man measuring 48 to the little boy measuring 
only 24 around the breast, waist, or seat. For ex- 
ample, try size 40-36, etc., for the various divisions, 
in fact, try all sizes for a better understanding of the 
different divisions. 



H 

W 

1-3 

> 

t-H 

o 



en 
O 

C 
> 

> 
2i 
O 

H 
w 

M 
W 




The Ideal Model for 
Supreme System 




Hoiv to Measure 

Those whose ambition it is to become successful cutters should give thorough study to the art 
of measuring. They should further train their faculties by observing the different types, shapes and 
forms of men; and last, but not least, in taking short, or direct measures, exercise the utmost care, 
as exactness of these measures is hard to obtain. 

Measurements are, therefore, divided into three different sections. The first consists of length 
and circumference in connection with heights. The second consists of the definition of types, forms 
and attitudes. The third section is that of Short, or Direct Measures, sometimes called Cross 
Measures. We will, therefore, proceed to give Measurements in the manner in which the illustrations 
and instructions are arranged in this volume by now taking the Fiist Section under consideration, 
and as many measures as are necessary in order to produce a propoitionate coat, subject to height 
and circumference. 

Practice has demonstrated that taking the length of the coat and width cf back before a cus- 
tomer removes the garment will give the best satisfaction, for the reason that the old coat acts as a 
foundation for these measurements, and the cutter by taking these measurements over same can 
better distinguish whether the old coat is too long, or too short, and how rr uch, thereby obtaining 
more correct length for the new coat. For the same reason the width of the back is also taken in 
the same manner. (See Plate No. 1.) Next, after the coat is removed place the regular tailoring 
square at the top of shoulder and have the short arm of square rest en the end of the right shoulder — 
the long arm of square across the back; hold same even with left shoulder end witl: your left hand 
and with a piece of chalk in your right hand mark off point Z, as illustialed in Plate 2. Fix the 
point of the neck by laying on the tape to the back of the neck, allowing both ends of same to run 
to the front. Turn the tape under the arms and across back, holding both ends of the tape together 
with the left hand, and with a piece of chalk in the right hand mark points A and B as shown in illus- 
tration in Plate 2. Next remove the tape from the back of the neck and place tape around breast, and 
register the figure of circumference of breast. Next, fix the waist line by placing the tape around 
the hollow of the waist, holding the tape together with the left hand, and with the piece of chalk 
in the right hand mark off the waist line, or point C, Plate 2, at the same time register the circum- 
ference of the waist. Next, place the tape around the most prominent part of the seat, hold the 
tape together with the left hand, marking with the right hand point D, Plate 2, and register seat 
measure. Plate No. 3 illustrates the front view of Plate No. 2 with a square properly placed under 
the arm and tape attached for the measuring of sleeve length from H to G as shown, as well as 
illustrating the manner in which the tape line should be placed when breast, waist and seat measure 
is taken. Next, if possible, ascertain the correct height and weight of the customer. While the length 
of coat and width of back will in proportions be given from height and circumference, these two 
measures were registered first with view of applying in connection with said proportions. The 
measures so far taken should be entered in the measuring books as follows: 

Length 29 inches Seat 37 inches 

Width of back 14 inches Sleeve length 1854 inches 

Breast 36 inches Height 5 feet 8 inches 

Waist 32 inches Weight 135 pounds 

This is the First Section of Measurements. For the Second Section see Definition of Types, and 
for the Third Section see Direct Measures. 



i 



How to Measure 



MMl(i/i 




P/a/€ Z. 



Flc^tcL 



PLddc 3. 



The Sack Coat 



Every man in America, multi-niiilionaire as well 
as laborer, wears a sack coat. It is the great Ameri- 
can business coat, and in other countries is recog- 
nized as the badge of the American. 

That it is roomy and comfortable, loose enough 
to allow free movement, and because it has no tails 
to get in the way. is perhaps the reason for part of 
its vogue. Then it is plentifully supplied with pock- 
ets, which make it extremely convenient to the busi- 
ness man. 

Although from year to year slight changes are 
observable in the fashion of sack coats, the general 
design has remained unchanged for many years. It 
grows shorter, then longer, then short again. It is 
loose and boxy, then body-litting and has many varia- 
tions between these extremes. 

For ten years past the sack coat has been half 
fitting, and for six years the padded shoulders have 



been more or less popular. The straight front has 
been in vogue for about the same time. 

■In the change from the wide shoulder, it would 
seem that logically narrow shoulders will be the next 
distinguishing mark in favor. 

In ])n)( hieing a sack coat there are three points 
to be reiuembered, for upon these depend its popu- 
larity. It must be roomy and comfortable, yet at 
the same time witiiout any trimming or finishing 
which will nl>struct free movement, and have plentv 
of pockets. 

The different models of sack coats are all built 
on the same general design, the double and single 
breast, the placing of the pockets, buttons, cuff's, etc., 
the cutting of fronts, collars and lapels, express only 
the individuality of the tailor, the personal taste of 
the customer, or the exactions of fashion. 



Sack Coats 








REGULAR MODELS OF SACK 
OR BUSINESS COATS 



Systematical Outline for Sack Coat 



Measures: 

Breast 36 in. Seat 



Waist 32 in. 



Heig-ht 



... .0/ in. 

,5 ft. 8 in. 



To Draft 



Square out and down from A. 

A to Vis % 'jreast measure. 

V to B is 3 in. 

A to C is ^ of total height plus >2 in. 

A to D is i/H of height plus 1 in. 

A to E is 3'2 height minus 5 in. 

By applying measure it will be found that from 
A to B is 9 in. 

A to C is- \7y2 in. 

A to D is 2Zy2 in. 

A to E is 29 in. for this particular height and 
circumference. 

Square out B, C, D and E. 

B to F is 1/3 breast measure. 

F to H is \y, in. 

Square up and down from H. 

B to S is 3/ breast measure. 

S to G is 33/2 in. 



■ Square up and down from G. 
G to W is 1-6 breast measitre. 
Square up from W. 
B to N is breast measure. 
N to I is 2J4 in. 
Square down from I. 
X to O is 1-6 breast measure. 
Rule a line from Q to I. 
A to T is 1-6 breast measure. 
T to R is 34 in. 
Rule a line from W to R. 
Square back from point K, finding point Z. 
Rule a line from X to Z. 
Q to P is 1-6 breast measure. 
Rule a line from J to P. 

These are the principal points for normal, and 
should be studied first of all. 



16 



Systematical Outline for Sack Coat 




I N W 



C S 







U 



H F 



C 



D 



DIAGRAM NO. 1. 



liegulatlon Sack Coat — continued 



Measures: 



Breast 36 in. 

Waist 32 in. 



Seat 37 in. 

Heis:ht 5 ft. 8 in. 



To Draft 



First la_v up all points as described in outline, then 
continue as follows : 

C to M is Yo in. 

Square down from M. 

Rule a line from \ to M. 

H to 15 is 1-12 breast measure. 

Rule a line from B to 15 and out. 

15 to 2 is ^ in. 

3 to 4 is J4 in. 

K to 11 is J4 in. 

Add Yf, in. to top of back at A and shape back as 
per solid lines in illustration, from A to R, R to 11, 
11 to 2, 2 to 4, 4 to 10 and down. 

L to is J4 waist measure. 

Applv waist measure from 4 to M and to 8. 

From 8 to 3 is ZY^ J"- 

Apply seat measure on % of the divisions from 
10 to 14 and U to 10. 

From 10 to 12 is 2 in. 

X to Y is same distance as from R to 11 minus 
V& in. 

Reduce side of front part Y^ '"• '^^ point 2. 

Shape as shown in solid lines of illustration from 
2 to 3, 3 to 12 and down. 

Sweep back from 5 to 6, using point 2 as a pivot. 

Sweep forward from point 6 to 16, using point 
X as a pivot. 

Shape armhole from Y to 2 as illustrated. 

Shape shoulder as shown in diagram from Y to 
X, and shape neck hole from X to P. 

Make width of lapel 3 in. from 18 to 17. 

I to 13 is \Y2 in. 

to 19 is \Ya in. 

Extend 1 in. of length at point 16. 

Now shape from point P to 17, 17 to 13, 13 to 19 
and down to 16. 

Shape as shown in illustration from 6 to 16. 



The pockets are found % of the sleeve length, 
from G down ; pockets for this size of coat are 6V2 '"• 

This is the body of a single-breasted normal sack. 

For double-breasted sack note the dash lines at 
front. 

From I to 25 is 3^ in. 

From to 26 is 33^ in. 
■ From 16 to 20 is 3K- in. 

Notch at top is 3 in. 

Shape front as shown by dash lines. 

Take out a V of ^ in. at point P and you have 
a normal double-breasted sack. 

For small-waisted sack : 

Take out of center seam at point M ^^ in. for 
every inch the man is less than normal. 

Shape from V down as shown by dotted lines. 

Apply waist measure from 4 to M and to 7. 

7 to 9 is 2>Y2 in. 

9 to 3 is the amount to be reduced, which is 
taken out in an underarm V as shown by dotted lines 
from armhole to pocket. 

Extend width of forepart at point 2 Y^ iii-> as 
shown by dotted lines, which is allowance for two 
seams used for underarm \'. 

This finishes draft for small waist. 

Collar 

Extend crease line from 13 up to 23. 
17 to 27 is 1>4 in. 

22 to 2i is the stand of 1 in. 

27 to 22 is the same distance as from A to R 
and X to 27. 

Shape from 22 to 27. 

23 to 24 is 2 in. 
27 to 21 is 1J4 ill- 
Shape from 22 to 2Z, 23 to 24, 24 to 21, 21 to 27, 

as shown. 



Regulation Sack Coat — continued 




DIAGRAM NO. 2. 



19 



In variation of heights men are 
divided into three classes, viz. : — 
tall, normal and short. (See illus- 
tration Relative Heights.) 

In each of these classes we may 
have several degrees of the same 
type. As a rule we find difficulty 
in impressing the student with an 
understanding of the necessity of 
height as a positive guide to regu- 
late and shape the garment to the 
figure. A knowledge of the height 
of the customer is of great prac- 
tical value to a cutter, not only as 
a guide to regulate the length of 
the garment, but also to obtain the 
proportionate station relative to 
heights, such as slope of shoulder, 
depth of scye, waist length, length 
to seat, as well as the average 
length of the garment, so as to 
avoid the possibility of cutting a 
long coat for a short figure or a 
short coat for a tall man. (See il- 
lustration Relative Heights.) A is 
the neck point, Z is slope of shoul- 
der, B depth of scye, C waist length 
and D length to seat. 

Suppose the height to be 5 ft. 8 
in. as the middle figure of Relative 
Heights illustrate. Five ft. and 8 
in. is a total of 68 in., which is the 
normal height of a man. One- 
eighth of 68 is 8>4 in. Add to this 
Yz in. and we have 9 in., which is 
the total amount of depth of scye 
for a subject 5 ft. 8 in. in height 
and 36 breast. Then again divide 
the total amount of the depth of 
the scye into three equal parts, and 
1-3 of this amount is the propor- 
tionate slope of shoulder. (See il- 
lustration Relative Heights.) 

The circumference of breast reg- 
ulates the depth of scye because the 
arms and muscles graue m circum- 
ference in proportion with the cir- 
cumference of the body, and the 
normal depth of scye is, therefore, 
found by taking 1-3 of the breast 
measure plus 3 inches for the nor- 
mal height of 5 ft. 8 in. (See Dia- 
gram 3, AB.) 



Heights 




5' 4" 56" 512' 



2() 



Heights 



The fact remains that the depth 
of scye is approximately ]/& of en- 
tire height of figure, and in vary- 
ing from the normal height 34 of 
an inch is added to the depth for 
every inch the subject is taller than 
5 ft. 8 in., and ]4, in. is deducted 
from depth of scye for every inch 
the subject is shorter than 5 ft. 8 
in. (See Diagram 3, Point A, nor- 



mal, and variations for 5 ft. 4 in. 
and 5 ft. 12 in., as shown by dash 
and dotted lines.) Illustrating that 
for 6 ft. there is 3^ in. addition to 
the depth of scye and for 5 ft. 4 in. 
there is lA deduction from the nor- 
mal representing 14, of an inch for 
each inch he is taller or shorter 
than the normal. 

The natural waist for a frock 




L 



IS'* 

t 

5" 



D 



■5-ir 



.a'*" 



E 



Ji'^" 



DIAGRAM NO. 3. 



coat is ]^, of the entire height. For 
fashionable waist add IJ^ in. 

Waist length for sack coat is J4 
of the entire height plus Yz in. 
(See Diagram 3, Point C, for nor- 
mal, dotted line for 5 ft. 4 in., and 
dash line for 5 ft. 12 in.) The 
length to seat is 1-3 of the entire 
height plus 1 in. (See Diagram 3, 
Point D, for normal, dotted line 
for 5 ft. 4 in., and dash line for 5 
ft. 12 in.) 

The average length of sack coat 
is y2 of the height minus 5 in. 
(See Diagram 3, Point E, for nor- 
mal, dotted line for 5 ft. 4 in., and 
dash line for 5 ft. 12 in.) 

The average length of a S. B. 
frock is half the height plus 2 in. 
The average length of a D. B. 
frock is 3^ of the height plus 6 in. 
Average length for a full dress coat 
is Yi of the height plus 5 in., and 
the average length for an overcoat 
is half of the height plus 8 in. 

While style governs the length 
of the garment, this division of 
heights will serve as a guide to 
regulate the length of the gar- 
ment, which should be graded 
according to the height of the 
customer. Illustration Relative 
Heights shows the position and in- 
cline which is calculated as the 
neck point, therefore A to Z is 
shoulder slope, A to B depth of 
scye, A to C waist length and A to 
D is length to seat. 

By a careful study of the illus- 
tration Relative Heights, and the 
Diagram No. 3, and following out 
the instructions herein stipulated 
and thereby illustrated, will make 
the student conversant with relative 
heights as well as the necessity of 
incorporating the same in produc- 
tion of patterns. 



Proportionate Table of Breast Measures by Weight and Height 

















HEIGHT 












Weight 






























5-2 


5-3 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 


6-1 


6-2 


100 


34 


33f 


33* 


33} 


33 


32f 


32* 


32} 


32 


31} 


31* 


31} 


31 


105 


34* 


34i 


34 


33 1 


33^ 


33} 


33 


32} 


32* 


32} 


32 


31} 


3U 


110 


35 


34i 


34* 


34} 


34 


331 


33i 


33} 


33 


32} 


32* 


32} 


32 


115 


35* 


35i 


35" 


34J 


34* 


34} 


34 


33} 


33* 


33} 


33 


32} 


32^ 


120 


36 


35f 


35* 


35} 


35 


34| 


34* 


34} 


34 


33} 


33* 


33} 


33 


125 


36J 


36i 


36 


35a 


35* 


35} 


35' 


34} 


34^ 


34} 


34 


33 i 


33* 


130 


37 


36f 


36* 


36} 


36 


35f 


35* 


35} 


35 


34} 


34i 


34} 


.34" 


135 


37* 


37i 


37 


36f 


36* 


36} 


36 


35} 


35* 


35} 


35 


34} 


34^ 


140 


38' 


37f 


37* 


37} 


37 


36 f 


36* 


36} 


36 


.35} 


35* 


35} 


35 


145 


38^ 


38} 


38' 


37f 


37* 


37} 


37 


36} 


36* 


36} 


36 


35} 


35J 


150 


39 


38f 


38^ 


38} 


38 


371 


37* 


37} 


37 


36} 


36* 


36} 


36 


155 


39^ 


39i 


39 


38f 


38^ 


38} 


38 


37} 


37* 


37} 


37 


36} 


36* 


160 


40 


39f 


39^ 


39} 


39 


38f 


38* 


38} 


38 


37} 


37* 


37} 


37 


165 


40* 


m 


40 


39f 


39* 


39} 


39 


38} 


38* 


38} 


38 


37} 


37i 


170 


41 


40i 


40J 


40} 


40 


39f 


39* 


39} 


39 


38} 


38* 


38} 


38 


175 


41* 


4H 


41 


40f 


40* 


40} 


40 


39} 


39* 


39} 


39 


38} 


38J 


180 


42 


41f 


4U 


41} 


41 


40f 


40* 


40} 


40 


39} 


39* 


39} 


39 


185 


m 


42} 


42 


41} 


4U 


41} 


41 - 


40} 


40* 


40} 


40 


39} 


39i 


190 


43 


42f 


42* 


42} 


42 


41} 


411 


41} 


41 


40} 


40* 


40} 


40 


195 


43i 


43i 


43' 


42f 


42* 


42} 


42 


41} 


in 


41} 


41 


40} 


40* 


200 


44 


43f 


43 1 


43} 


43 


42} 


42* 


42} 


42 


41} 


41* 


41} 


41 


205 


44^ 


44i 


44 


431 


43* 


43} 


43 


42} 


42* 


42} 


42 


41} 


4H 


210 


45 


44i 


44^ 


44} 


44 


43} 


43* 


43} 


43 


42} 


42* 


42} 


42 


215 


45J 


45} 


45 


44f 


44* 


44} 


44 


43} 


43^ 


•43} 


43' 


42} 


42^ 


220 


46 


45f 


45^ 


45} 


45 


44} 


44* 


44} 


44 


43} 


43^ 


43} 


43 


225 


46* 


46} 


46 


45| 


45i 


45} 


45 


44} 


44* 


44} 


44 


43} 


43* 


230 


47 


46i 


46* 


46} 


46 


45} 


45* 


45} 


45 


44} 


44* 


44} 


44 


235 


47i 


47} 


47 


46| 


46* 


46} 


46 


45} 


45* 


45} 


45 


44} 


44^ 


240 


48 


47f 


47^ 


47} 


47 


46} 


46* 


46} 


46 


45} 


45^ 


45} 


45 


245 


48* 


48} 


48 


47| 


47i 


47} 


47 


46} 


m 


46} 


46 


45} 


454 


250 


49 


48f 


48i 


48} 


48 


47} 


47* 


47} 


47 


46} 


46^ 


46} 


46 


255 


49* 


49} 


49 


48f 


48* 


48} 


48 


47} 


47* 


47} 


47 


46} 


46i 


260 


50 


49| 


49* 


49} 


49 


48} 


48^ 


48} 


48 


47} 


47i 


47} 


47 


265 


50* 


50} 


50 


49f 


49^ 


49} 


49 


48} 


48* 


48} 


48 


47} 


47i 


270 


51 


50f 


50* 


50} 


50 


49} 


491 


49} 


49 


48} 


48* 


48} 


48 


275 


51| 


51} 


51 


50f 


504 


50} 


50 


49} 


49* 


49} 


49 


48} 


48^ 


280 


52 


511 


51* 


51} 


51 


50} 


50* 


50} 


50 


49} 


49i 


49} 


49 


285 


52* 


52} 


52 


51f 


51i 


51} 


51 


50} 


50* 


50} 


50 


49} 


49J 


290 


53 


52f 


52* 


52} 


52 


51} 


51* 


51} 


51 


52} 


50* 


50} 


50 


295 


53i 


53} 


53 


52f 


52* 


52} 


52 


51} 


51* 


51} 


51 


50} 


50i 


300 


54 


53f 


53i 


53} 


53 


52} 


52* 


52} 


52 


51} 


51* 


51} 


51 



For large waisted persons deduct J inch for each inch the waist measure exceeds the proportionate. 
For small waisted persons add J inch for each inch the waist measure is less than proportionate. 
For athletes add one size to the breast measure stipulated. 

Proportionate Waist Lengths and F\ill Lengths of Coats 





5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6 ft. 


Natural Waist — Frock 

Fashionable Waist— Frock . . , 

Sack Coats — Waist 

Sack Overcoats — Waist 

Full Length — Sack Coats 

— S. B. Frock 

— D. B. Frock. . . . 

— Dress Coat 

— Overcoat 


16 

17i- 

16* 

17 

27 

34 

38 

37 

40 


16} 
17} 
16} 
17} 

27* 
34* 
38* 
37* 
40* 


16* 

18 

17 

17i 

28 

35 

39 

38 

41 


16} 
IS} 
17} 
17} 
28* 
35* 
39* 
38* 
41* 


17 

18^ 

17* 

18- 

29 

36 

40 

39 

42 


17} 

18} 

17}. 

IS} 

29* 

36* 

40* 

39i 

424 


17* 
19 

18 

30 
37 
41 
40 
43 


17} 
19} 
IS} 
18} 
30^ 
37* 
414 
404 
434 


18 

19i 

184 

19 

31 

38 

42 

41 

44 



Circumference 



In variations of circumference customers are divided into four types : Slim, Normal, Corpulent and 
Stout. (See illustrations.) By Slim I refer to persons who measure less than normal around waist, as 
36 breast and 30 waist, who should be treated in the manner stipulated and insttucted in diagram 2; 
the Normal coat is that of the solid lines in the same diagram. The Corpulent differs from the Stout 
around waist as well as over breast. By the Corpulent figure I mean a figure which has grown heavy 
while still retaining its athletic type, but measuring more than proportionate around the waist ; for 
example, 42 breast and 42 waist is termed Corpulent : 40 and 39 waist with the 42 breast measure would 





also be corpulent. (See Fig. 8.) Any man whose waist measures more than Normal, or any man whose 
waist measure is the same as over breast, is termed Corpulent, and should be treated as shown in diagram 
4. The stout man is he who measures more around the waist tiian around the breast. .Study Fig. 9 for 
Stout form, and treat same as shown in diagram 11. In classifying Circumference, the Slim measures 
less around waist than Normal, the Corpulent measures more around waist than regulation or Normal 
waist measure, and the Stout measures more around waist than around breast. In application of the 
divisions for depth of scye, the increase and decrease for depth of scye over 42 will be only 1-12 inch. 
( See diagram 4. ) 



Sack Coat for Corpulent Figure 

Note difference of increase on depth of scye. A corpulent figure is one whose waist measure is more 
than normal, but still does not exceed breast measure. 



Measures Used 



Breast -18 in. 

Waist 48 in. 



Seat 48 in. 

Height 5 ft. 8 in. 



To DraLft 



Square out and down from A. 

A to 48 is 1-3 breast measure, but inasmuch as 
42 is stipulated point for regular grade, size 42 is 
taken into consideration. Therefore, .\ to 42 is 1-3 
of size 42. 

V is half way between 48 and 42. 

V to B is 3 in. 

A to C is >4 height plus {2 in. 

A to D is i/ii height plus 1 in. 

A to E is >4 height minus 3 in. 

Square out B, C, D and E. 

B to F is % breast measure. 

F to H is \y2 in. 

B to S is J/2 breast. 

S to G is Zyi in. 

G to W is 1-6 breast measure. 

B to N is breast measure. 

N to I is 2J4 in. 

Square down from I. 

Square up from W. 

Square up and down from G. 

Square up and down from H. 

C to M is >4 in. 

Square down from M. 

Rule a line from V to M. 

A to T is 1/6 breast measure. 

T to R is % in. 

Sweep back from point 1 to X, using point G 
as a pivot. 

1 to X is y2 in. 

Rule a line from VV to R. 

Square back frpm K, finding point Z. 

Rule a line from X to Z. 

Square out from X by balance line. 

X to O is 1/6 breast measure. 

L to O is 3^ waist measure. 

Shape as shown in illustration from O to 1, O 
and down. 

H to 19 is 1/12 breast measure. 

Rule a line from B to 19 and out. 

19 to 2 is % in. 

Add 14, in- to top of back at A and sliape as shown 



in diagram from A to R, R to 11, 11 to 2, 2 to 3, 17 
and down. 

to P is 1-6 breast measure. 
Rule a line from J to P. 

X to Y is same distance as from R to 1 1 minus 
y^ in. 

Shape armholc as shown in diagram from Y to 2, 

Shape shoulder from Y to X and shape neck 
hole from X to P and out. 

Apply waist measure from 3 to M and to 8. 

8 to '4 is 3K' in. 

Apply seat measure on % of division from 17 to 
14 and U to 10. 

10 to 12 is 2 in. 

Sweep back from point 5 to 6, using point 2 as 
a pivot. 

Sweep forward from 6 to 16, using point X as 
a pivot. 

1 to 13 is iy2 in. 
to 15 is ly. in. 
Shape lapel and front. 
16 to 18 is \y2 in. 

Shape cutaway of front as shown in illustration ; 
also shape side of front part from 2 to 4, 12 and down, 
and shape bottom of coat from 6 to 18. 

For double-breasted coat note dash line in this 
illustration, and add same amount to front as for 
double-breasted coat illustrated in diagram 2. 

Place pocket as shown in diagram. 

Cut a slash in pattern from center of armhole to 
point 21 and from 21 to front end of pocket, as shown 
in illustration. 

Make plait from front of pocket dpwn to front 
corner of coat as shown by shaded lines, in size so that 
distance from 20 to 21 will be y% in. for each inch 
the garment is over normal waist. In this case the 
coat is 4 in. over normal and total from 20 to 21 
is yi in. 

Dash line on side of front part illustrates open- 
ing in center of armhole and down to side of front 
part. 

For further information on this subject see 
manipulation for stout. 



Sack Coat for Corpulent Figure 




DIAGRAM NO. 4. 



Exaggeration 

In these days fashion is hablc to change ahnost over night, and the general demand is for indi- 
viduality in clothes. We are past the time when clothes are valued simply as a fit ; but fitness in clothes 
is expressed by style and individual effect produced for particular customers. E.xaggeration, then, becomes 
a most valuable resource, because by the application of exaggerations to the patterns a cutter is able 
to produce a garment that not only holds the fitting points, but can be made as many sizes larger than 
the actual circumference of the man as is necessary, while distributing the material proportionately 
around the body. For the tall and thin figure exaggeration is of incalculable value, for if a garment 
was cut according to measurements alone it would by no means represent the advanced style of to- 
day. Exaggeration is therefore a scientific resource subject to the personality of the type of customer 
as well as to style, and can be relied on for exactness in enlargement of circumference in garments 
to the fullest extent. Measurements taken of a customer remain the same as for a fitting garment, 
and the amount of excess is stipulated according to the type of the customer as well as the prevailing 
style, by so many inches in excess. The amount of excess also varies in different classes of trade. 

In providing for different figures requiring exaggeration it would be well to include one size of 
excess in the normal, or 5 ft. 8 in. and 36 breast, and an average of 3-2 in. more excess for each inch 
the customer is taller than 5 ft. 8 in., provided he does not increase in circumference in proportion to 
his height. This is for sack coats. 

For overcoats it has been found practical to give 2 inches of excess to the figure of normal height 
'and circumference, and an average of yS inch more for each inch a man is taller than normal. In frock 
coats it is advisable not to include any excess for normal height and circumference, but to add J2 inch 
for each inch the subject is taller than normal. This is for the tall and slim types. 

For Short and Corpulent and Short and Stout it is advisable to cut a sack according to regular measure ; 
overcoat two sizes in excess, and frock coat J^ size less than regular measure. Personal practice has 
demonstrated that this conservative advice should be followed by students ; also, that measurements 
should be taken according to instructions, and the excess stipulated at the time measurements are taken. < 
In the Second Section or Definition of Types, Ex. 1, 2 and 3, thereby meaning excess 1. 2 or 3 inches. 
The diagram on opposite page illustrates exaggeration of 36 to 40. 

Measurements are as Follows: 

Waist length 17j^ in. Waist 32 in. 

Length to seat 23^ in. Seat 2>7 in. 

Full length 29 in. E.xaggerated four sizes. For proportionate 36 

Breast 36 in. in. breast subject. 

To Draft 

The dotted lines indicate the regular 36, 32 and S to G is iyi in. 

2)7 in. circumference, and 5 ft. 8 in. in height, accord- G to 9 is 1 in., or ^4 in. for each size the coat 

ing to the regular instructions of sack coat. is exaggerated. ( See dashes between G and 9. ) 

The solid lines show an exaggerated coat to 40, 9 to W is 1/6 of regular breast measure. 

36 and 41 in., respectively, also 5 ft. 8 in. in height. W to 8 is 3/ i"- ''»■ Vi i"- t'"'" e^it^'i size the coat 

It will be noticed that the depth of scye, waist jg exao-gerated. 

length, length to seat, as well as length of coat re- Square up from 8 

mains the same as the original, while the increases g^^,^^^ ^,p ^^^^ ^^^^.^^ ^^^^^^ 9 

are m the circumference, which places the goods of an g^^^^^ ^^ ^^^ ^^^^ ^^^^^^ ^ 

exaggerated coat in the proper position. This being g ^^ jg j^ ^^^ ^^^^j^^ ^^^^^^ measure. 

a coat exaggerated four sizes, the increases are, there- ^ ^^ ^^ j^ ^,^^ exaggerated breast measure. 

fore, placed as follows: .„, , , . , ,0 , ^t ■ ,^ 

„,,.,,, , , ^ Note that the increase between 18 and N is V2 

B to 1 IS % of regular breast measure. . . ,,,,.,,. 

r> ^ T- ■ -t , iju L. 1- ui. for each size, as indicated bv dashes in the distance 

B to F is % exaggerated breast measure, making ' 

r \ ,r ■ c t. • j-u 4. ■ from 18 to N. 
an increase of 1/6 m. for each size the coat is e.x- 
aggerated, as indicated by dashes between points 1 JSI to 1 is z/4 m. 
and F. Add 4 inches to the regular waist measure for 

F to H is the regular 1^ in. e.xaggerated waist, and apply in the usual manner 

B to S is J^ regular breast measure. plus 3^ in. 

26 



Diagram for Exaggerated Sack Coat 




DIAGRAM NO. 5. 



Also add four sizes to the seat measure and 
apply in the regular manner, plus 2 in. 

These are all the points moved b}' exaggeration 
or obtained by exaggerated measures. 

All other points relative to shoulders, top of back, 
etc.. remain according to regulations. 

Add the button stand, as in a regular coat, and 
shape as shown by solid lines and finish, and the ex- 



aggerated coat is completed. 

Should less exaggeration be desired over waist 
and seat, add less to your measure, and operate on 
front part by taking out a V in the same manner as 
illustrated in the regular sack coat for small waist. 

Height, variations, direct measures, etc., to be 
incorporated according to instructions and illustra- 
tions in this volume. 



Single and Double Breasted Sack Overcoat 



Mea.sures Used : 



Breast 40 in. 

Waist 36 in. 



Seat 41 in. 

Lenffth, etc., based on heisrht of 5 ft. 8 in. 



To DrcLft 



Square out and down from A. 
A to V is % breast measure. 

V to B is 3 in. 

A to C is 34 height plus 1 in. 

.A to D is % height plus 1 in. 

A to E is J^ height plus 8 in., or length of coat 
desired. 

Square out B, C, D and E. 

B to F is i^ breast measure. 

F to H is V/i in. 

B to S is J4 breast measure. 

S to G is 2>Y2 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2% in. 

Square up and down from H. 

Square up and down from G. 

Square up from W. 

L to is 34 waist measure. 

C to M is >^ in. 

Square down from M. 

Rule a line from V to M. 

.\ to T is 1/6 breast. 

T to R is % in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

Rule a line from Z to X. 

n to 17 is 1 12 breast measure. 

Rule a line from B to 17 and out. 

X to Q is 1/6 breast measure. 

Shape as indicated from O to I, and down. 

K to 11 is 34 in. 

Shape back as shown in illustration by starting ]/% 
in. above line at point A, from A to R, R to 11, 11 to 2, 
2 to 3, 3 to 10 and down to 5. 

Apply waist measure from 3 to M and to 8. 



8 to 4 is 43^ in.. 

Apply seat measure on % of the division from 
10 to 14 and U to 10. 

10 to 12 is 234 in. 

Reduce front part 3^ in. at point 2. 

Shape as shown in illustration from 2 to 4, 4 to 12 
and down to 6. 

Sweep backward from point 5 to 6, using point 
2 as a pivot. 

Sweep forward from 6, using point X as a pivot. 

From X to Y is same distance as from R to 11 
minus ^ in. 

Shape armhole as shown in diagram from Y to 2. 

Shape shoulder from Y to X. 

to P is 1/6 breast measure. 
Draw a line from J to P. 

Shape neck hole as shown in illustration from 
X to P and out. 

1 to 13 is 2 in. 
to LS is 2 in. 
16 to 18 is 2 in. 

Extend width of lapel desired. 

Shape front as per illustration from 13 to 15 and 
down to 16. 

Add 1 in. to length of front at point 18. 

Shape bottom as shown in diagram. 

Place pockets % of sleeve length down from 
armhole, and draw up collar in regulation way. 

For double breasted see d^sh lines. 

From I to 20 is 4 in. 

to 19 is 4 in. 

18 to 21 is 4 in. 

Peak lapel according to taste. 

Make width of lapel 33-^ in. 

Shape as shown by dash lines and regular 
double-breasted coat is complete. 



28 



Single and Double Breasted Sack Overcoat 




DIAGRAM NO. 6. 



The Frock Coat 



The frock coat, as worn in the twentieth century, 
is a heritage handed down to us by our ancestors. 
It is a modification of the coat which has been worn 
by gentlemen for hundreds of years, and is today as 
much worn by all classes, which have always affected 
it, as ever. 

Today the frock coat is worn usually by profes- 
sional men, the better class of business men, and for 
formal day dress. 

The double-breasted frock, or Prince Albert, pop- 
ularized by the late Prince Consort of England, has 
grown into the correct garment for formal day dress. 

For day receptions, weddings, church wear, etc., 
it is the only correct garment. As in other dress 
garments, there is little variation in general design 
from season to season, the changes in model which 
mark the necessary differences in fashion being mainly 
in the collars, lapels, facing, the nmnber and placing 
of buttons, etc. 

With the double-breasted frock, which is usually 
made from black or Oxford gray materials, trousers 
of gray striped worsted are worn, although if a fancy 
vest is part of the costume, the trousers should be of 
the same material as the coat. 



The strict regulation as to what is proper in the 
cut and material of the double-breasted frock, ex- 
tends also to the accessories of the costume which 
are worn with it. 

A standing, or poke collar, a white shirt, an As- 
cot or puff tie of cream or gray, silk hat, patent leather 
or varnished shoes, and white or gray gloves are re- 
garded by well dressed men as correct, and the fash- 
ion is not likely to change for several years. 

The single-breasted frock in its various models 
is very generally worn by professional and business 
men as a business coat. The tendency in that direc- 
tion grows steadily stronger every year, as most pro- 
fessional men want to wear something different in 
design from the ordinary sack coat. 

As a business coat much more latitude is allowed 
in the accessories worn with the single-breasted frock, 
than with the double-breasted. Any of the business 
collars, a four-in-hand tie, and a soft or derby hat 
may be worn, although if the coat is black, a silk hat 
and other accessories as worn with the double 
breasted frock mav be worn for semi-dress. 



Frock Coats 




t^S 




SINGLE BREASTED, OR MORNING FROCK. 
DOUBLE BREASTED, OR PRINCE ALBERT 



Outline for Body of Frock Coat 



Measures Used 



Breast 36 in. 

Waist 32 in. 



Seat 37 in. 

Height 5 ft. 8 in. 



To DraLft 



Square out and down from A. 
A to V is Yi breast measure. 
V to B is 3 in. 
A to C is 3-4 of height. 
C to D is V/o in. 
Square out B, C and D. 
B to F is % breast measure. 
F to H is 1>< in. 
Square up from H. 
B to S is J<2 breast measure. 
S to G is 33/2 in. 
Square up and down from G. 
G to W is 1/6 breast measure. 
B to N is breast measure. 
N to I is 234 in. 
Square down from I. 

Sweep backward from point 1, using G as a pivot. 
1 to X is >4 in. 

Square out from X. 

X to O is 1/6 breast measure. 

Rule a line from Q to I. 

A to T is 1/6 breast measure. 

T to R is ^ in. 



Rule a line from W to R. 

Square back from K, finding point Z. 

Rule a line from X to Z. 

L to M is 2 in. 

C to U is 3/ in. 

Square down from U. 

Rule a line from V to U. 

U to 8 is 3^ of breast measure. 

K to 23 is Yz breast measure. 

Shape as shown by iUustration from 23 to 8 and 
down. 

M to 4 is J^ waist measure. 

4 to U is waist suppression, which is divided into 
three equal parts, as Figs. 4, 2 and 3 indicate. 

8 to 7 is same distance as from 2 to U, or % of 
waist suppression. 

Square up and down from 7. 

7 to 6 is J4 waist measure. 

Rule a line from S to 6. 

22 to 9 is 1/6 breast measure. 

O to P is 1/6 breast measure. 

Rule a line from J to P. 

Rule a line from G to 23. 



32 



Outline for Body of Frock Coat 




33 



Three Button Frock— continued from outune 



A to E is 5^ height plus 2 in. 

24 to 10 is J4 in. 

23 to 13 is ^ in. 

Shape back of side body as shown by ilhistration 
from 13 to 7, 24 and 10. 

K to 11 is yi in. 

Shape as shown by illustration from % in. above 
A to R. R to 11 and 11 to 23. 

From 6 to 5 is same distance as from 4 to 2, or 
% of waist suppression. 

Shape as shown by ilhistration from S to 6 and 
down to 20, and S to 5 and down to 21. 

Shape bottom of side body from 10 to 20, and 
shape bottom of front part as shown by illustration 
from 21 to 9. 

X to Y is same distance as from R to 11 minus 
Vs in. 

Shape armhole as shown by illustration from Y 
to 13. 

Shape shoulder from Y to X, and shape neckhole 
from X to P and out. 

From I to 18 is 1 3/2 in. 



From to 19 is I'j in. 
From 26 to 25 is 3 in. 

Shape as shown by illustration from 25 to 18, 18 
to 19 and down to 9. 

9 to 12 is >'2 in. 

10 to 14 is 1 -j seat measure. 
14 to 15 is 1/12 seat measure. 
Rule a line from 10 to 15 and down. 

■ From 10 to 17 is same distance as from D to E 
plus 14 in. 

From 12 to 27 is same distance as from 10 to 17 
minus 1 in. 

Shape top of skirt as shown in illustration from 
J4 in., above point 10 to point 12. 

Shape front and back of skirt as shown by solid 
lines from 10 to 17, extending J-j in. opposite point 
15. 

Shape bottom of skirt as shown by illustration 
from 17 to 27. 

Take out a \^ in front part as shown in diagram. 

Take out \' in front of neckhole and finish as 
represented. 



C o 1 1 a. r 

Draw a line from 18 to ^4 in. in front of point 
X and up. 

From X to 29 is 1/6 breast measure. 
29 to 30 is 1%. inches. 
29 to 31 is 2 inches. 



Shape 'as shown in illustration from 30 to 29 
and from 29 to 31. 

From 25 to 32 is I'j inches. 

32 to 33 is 1-34 inches. 

Shape as shown in illustration from 30 to 32, 
31 to 33 and 33 to 32. 



Three Button Frock 




Double Breasted Frock Coat 



Me8LS\ires bls Follo^vs : 



Natural waist . . . . 
Fashionable waist 

Full length 

Breast 

Waist 



. 17 in. 
.18>4 in. 
.40 in. 
.36 in. 
.32 in. 



Seat 37 in. 

Height 5 ft. 8 in. 

Weight 135 lbs. 

Attitude Normal 



.Square out and down from A. 

A to V is 1.3 breast measure. 

Y to B is 3 in. 

.\ to C is natural waist length. 

A to D is fashionable waist length. 

A to E is full length of coat. 

Square out B, C, D and E. 

B to F is 1/3 breast measure. 

F to H is \y2 in. 

B to S is ^ breast measure. 

S to G is V/2 in. 

G to W is 1-6 breast measure. 

B to N is breast measure. 

N to I is 2^4 in. 

Square down from I. 

Square up from \\'. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast. 

T to R is ^ in. 

Rule a line from W to R. 

Sweep back from point 1, using point G as a 
pivot. 

1 to X is >4 in. 

Square back from point K, finding point Z. 

Rule a line from X to Z. 

Square out from X. 

X to Q is 1/6 breast measure. 

L to is J4 waist measure. 

Shape as shown by illustration from to I, and 
down. 

22 to 9 is 1/6 breast measure. 

C to U is y, in. 

.Square down from U. 

Rule a line from V to U. 

U to 8 is J/g breast measure. 

K to 23 is Yi breast measure. 

K to 11 is y2 in. 

Square down from 8. 

Add yi in. to top of back at .A, and shape as 
shown by illustration from A to R, R to 11. 11 to 23, 
23 to 8 and down. 

L to M is 2 in. 

AI to 4 is J4 waist measure. 



To Dra^ft 

4 to U is waist suppression, which is divided into 
three equal parts, as Figs. 4, 2 and 3 indicate. 

8 to 7 is 73 waist suppression, or same distance 
as from 2 to U. 

7 to 6 is J4 waist measure. 

5 to 6 is % waist suppression, or same distance 
' as 4 to 2. 

Square down from 7. 24 to 10 is % in. 

Draw a line from G to 23. 23 to 13 is 3/^ in. 

Shape as shown by illustration from 13 to 7 and 
24 to 10. 

Shape from S to 6 and 20. 

Shape from S to 5 and 21. 

Shape from 10 to 20 and from 21 to 9. 

Q to P is 1-6 breast measure, plus J^ in. 

Rule a line from yi in. forward of J to P. 

X to Y is same distance as R to 11, minus fg in. 

Shape armhole from Y to 13. 

Shape shoulder from Y to X. 

Shape neckhole from X to P. 

Lay your square level from 9 to 22 and draw a 
straight line up to 26. 



9 to 12 is 2V2 in. 



28 to 27 



3K 



m. 



Peak lapel according to style. 

26 to 25 is 3 in. 

Shape from 26 to 25, from 25 to 27 and down to 



12. 



Square down from 12 by fashionable waist line. 

12 to 23 is 9 in. 23 to 24 is % in. 

Rule a line from 12 to 24 and down. 

Add % in. to top of skirt at point 10 and shape 
top of skirt as shown by illustration from 10 to 12. 

10 to 14 is % seat measure. 

14 to 15 is 1/12 seat measure. 

Rule a line from 10 to 15 and down. 

10 to 17 is same distance as from D to E, plus 
y2 in. 

12 to 19 is same distance as 10 to 17 minus 1 in. 

Shape back of skirt from 10 to 17 extending 
y2 in. at 15, and bottom of skirt from 17 to 19 as 
shown in illustration. 

Take out a V in front part as shown. 

Add I3-J in. to back from D and down and finish 
as shown. 



Double Breasted Frock Coat 




37 



Frock Coat for Corpulent Figure 



Measures as Follows: 



Natural waist 17 in. 

Fashionable waist IS^/j in. 

Full lensrth 2,7 in. 



Breast 42 

Waist 42 

Seat 43 



ni. 
in. 
in. 



To Draft 



Square out and down from A. 

A to V is 1/3 breast measure. 

V to B is 3 in. 

A to C is natural waist length. 

A to D is fashionable waist length. 

A to E is full length of coat. 

Square out B, C, D and E. 

B to F is % breast measure. 

F to H is ly. in. 

B to S is y, breast measure. 

S to G is 3^/2 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 214 in. 

Square down from I. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is ^ in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

C to U is 5^ in. 

Square down from U. 

Rule a line from V to U. 

U to 8 is J^ breast measure. 

K to 23 is y% breast measure. 

K to 11 is J^ in. 

Add y^ in. to top of back at A, and shajjc as 
shown in illustration from A to R. R to 11, 11 to 23, 
23 to 8 and down to 16. 

Sweep back from 1 to X, using point G as a pivot. 

1 to X is first y2 in, ; then add y% in. for each 
inch waist measure is over proportion. In this case 
the waist is 4 in. over normal ; for that reason the 
total amount from 1 to X in this instance is 1 in. 

Rule a line from 1 to Z. 

Square out from X. 

X to O is 1/6 breast measure. 

L to is 1/ waist measure. 

Rule a line from O to I, and down. 

22 to 9 is 1/6 breast measure. 

Square back from 9. 

9 to 25 is 34 waist measure. 

Take out a Y between 25 and 27 of J/^ in. for 



every inch the man measures over normal at waist. 
In this instance, being 4 in., J4 in. would be taken out 
between 25 and 27. 

L to M is 2 in. 

M to 4 is j.4 waist measure. 

4 to U is waist suppression, which is divided into 
three equal parts as Figs. 4, 2 and 3 indicate. 

From 8 to 7 is 73 of waist suppression, or same 
amount as from 2 to U. 

7 to 6 is ,'4 waist measure. 

6 to 5 is i/i'i waist suppression, or same amount 
as from 2 to 4. 

Square down from 7. 

Point 10 is •)4 ill. below fashionable waist line. 

From 9 to 12 is, first V2 in., same as in normal, 
plus the amount which is taken out between 25 and 
27 . In this instance from 9 to 12 would be 1 in. 
23 to 13 is y^ in. 

Shape as per illustration from 13 to 7 and down. 

Shape from S to 6 and down. 

Shape from S to 5 and down. 

Shape from 10 to 20, 21 to 27, and shape top of 
skirt as shown in illustration from 10 to 12. 

10 to 14 is "':') seat measure. 

14 to 15 is 1 '12 seat measure. 

Rule a line from 10 to 15 and down. 

10 to 17 is same distance as from D to E plus 
K' in. 

12 to 26 is same distance as from 10 to 17. minus 
1 in. 

X to Y is same distance as R to 11, minus y^ in. 

to P is 1/6 lireast measure. 

Shape armhole from Y to 13; shoulder from 
Y to X, and neckhole from X to P. 

1 to 18 is l;/' ill- 
to 19 is 1'4 in. 

Extend width of laix'l desired, and shape same, 
as well as front, front of skirt, bottom of skirt, and 
shape as shown by illustration from 10 to 17 on back 
of skirt, and a three-button frock is finished. 

For double breasted effect shown by dash lines, 
see normal draft of double breasted frock, as the 
shape of front and skirt is identical with it. 

The technical part for V in front and more 
crooked shoulder are the same as for this diagram. 



Frock Coat for Corpulent Figure 




DIAGRAM No. 10 



39 



Biagram for Stout Figure 




DIAGRAM No. 11 



Mea-sures: 



Breast 46 in. 

All regular points are obtained in the same man- 
ner as for corpulent coat with the following additions 
and deductions : 

I to 33 is ^ in. 

to E is extra y% in. for every inch the subject 
measures more over waist than breast. 

Shape from O through 33 to E and square down 
from E. 

Point M is obtained in the same manner as in 
regular draft. 

M to 30 is same distance as to E. 



Waist ?0 in. 

Then apply waist measure on the J^s from 30 
to 4. 

4 to C is waist suppression and is divided in the 
usual manner. 

5 to 31 is same distance as I to 33. 

G to 32 is same distance as I to 33. 

Take out the difiference between S and 31, as per 
diagram, also shape armhole, and if for sack coat, 
perform the same operation and take out the excess 
at side seam, as shown by dash lines. 



iO 



Definitions of Types 

Second Section of Measurements 

Having completed the study of Section 1 (Measurements), as well as drawing proportionate 
patterns from Height and Circumference, and the section on Exaggerations, we now arrive at the 
definition of types. In actual practice the Definition of Types comes immediately after the First 
Section of Measurements, and for this reason we have so arranged the illustrations. In order to ex- 
plain the subject in a comprehensive manner a number of types in figures, illustrated, are introduced, 
with the idea that the student may study the types and forms of men, and fix in his mind the reg- 
ular code of types of variations from the normal figure. 












A subject can be either: — 

Sloping or Square Shouldered. 

Large or small blades. 

Stooping or Erect. 

Head forward or backward. 

Long or short neck. 
The degrees of these variations from the normal are three in number and are termed: 

1. Slight inclination. 

2. Medium inclination. 

3. Extreme inclination. 

These degrees of deformation hold good in any of the above stated types from the normal. There- 
fore, after having taken the measurements stipulated in Section 1, as well as registering height and 
weight, and ascertaining the style of garment desired, make a thorough examination of the custom- 



er's figure and attitude. Find the inclination at back of neck by placing the yard stick in position 
of the straight line shown in illustration of Relative Heights, and with the regular tailoring square 
pressed against the neck point, ascertain the distance from the neck-point to the yard stick. The 
normal inclination is 2^ inches. If the distance is greater it indicates that the customer is stooping 
or holds his head forward. If distance is less it indicates that he is erect or holds his head backward. 
To a student with an active mind a mere glance will suffice to give character to the form and classify 
the type. By first viewing the customer from the front a cutter is able to ascertain whether he is 
sloping or square shouldered, and in what degree, also, to notice the development of the muscles 
and whether he is broad or narrow chested. Next it is well to view the customer from the side or 
profile. This will enable the cutter to notice and stipulate in what degree the customer is stooping, or 
erect, using the inclination as a guide, or whether he holds only his head forward or backward, 
and in what degree. Next, observing the customer from the back will enable a cutter to notice 
and stipulate in what degree the customer has large or small blades or long or short neck. In order 
to give the final idea of the extent of the degree of deformation five different illustrations are shown, 
of which all, with the exception of the Normal, show the Second degree of variation from the Normal. 




^S^;: 




Fig. 1. Normal. 

Fig. 2. Square Shoulders. 

Fig. 3. Sloping shoulders. 



Fig. 4. Erect. 
Fig. 5. Stooping. 



In providing for the requirements of the different forms we constantly come in contact with 
two or more types in one subject. For example, a man can be both Sloping and Stooping, or he can 
be Sloping, Stooping and have large blades, and also have a long or short neck in that connection; or 
he can be Square, small blades and erect, etc., etc. (See Figure 5 for Sloping, large blades and Stoop- 
ing, and Figure 7 for Square, small blades and Erect.) 



In studying the various types for the different subjects be sure that the illustrations pertaining 
to them are thoroughly understood. Then picture to yourself the three different degrees. Place 
yourself before a mirror and arrange yourself first in the Normal position, then in the first, next in 
the second, and finally in the third degree of Square. 

Next arrange yourself as nearly as possible in the three degrees of Sloping. When this is done 
study your own form for large or small blades. Stooping or Erect, etc., and whenever in public 
places notice the different types and forms of men. Ascertain whether this or that man has a long or 
short neck, or any other deformation, and in what degree. The sooner you accustom yourself to 
this study the better it will be for you. Always carry in your mind the Normal and notice the varia- 
tions from it and fix the degree. It will surprise ycu to find that in a comparatively short time you 
will be able to classify the different types and stipulate the degree of variation with promptness and 
exactness so that you can apply them in actual practice. 








The Second Section of Measurement consists of defining all the types and degrees of variation, and 
should, therefore, be entered on your order book just after the First Section of Measurements and 
before taking direct measures, so as to be sure that the variations have been thoroughly stipulated, as 
variations in drafting belong to the scientific part. 

These deformations of types and degrees of variation must be thoroughly defined before taking 
or applying direct measures. Therefore, stipulate in your order book as Section 2 whether the cus- 
tomer is Normal 

Or square in the first, second or third degree. 

Or sloping in the first, second or third degree. 



4.1 



Or large blades in the first, second or third degree, 

Or small blades in the first, second or third degree, 

Or stooping in the first, second or third degree. 

Or erect in the first, second or third degree. 

Or long neck in the first, second or third degree. 

Or short neck in the first, second or third degree, 

Or head forward in the first, second or third degree. 

Or head backward in the first, second or third degree. 

Then, again, caution should be exercised in stipulating the degree of the above types, as in draft- 
ing, the application of them will have prompt effect on the pattern. Therefore, do not try to find fault 
with the form of the customer if on careful examination no noticeable inclination to any of the above 
stated types can be found, as practice has demonstrated that a garment produced from a good propor- 
tionate pattern will fit at least one-half of the men of the same height and circumference. Therefore, 
if the inclination to a certain type is so slight that it is hard to distinguish, I would advise to cut a pro- 
portionate shoulder in the pattern. 



Incline 



How to obtain the incline is illustrated in Relative Heights. For application to draft see Varia- 
tions. The incline measurement is taken with the view of ascertaining whether the customer is stooping 
or erect, head forward or backward, or whether he has large or flat blades, and is a valuable resource in 
conjunction with definition of types and in stipulating degrees of same. 2^4 in. is normal incline, 3^ in. 
either more or less than normal means one degree. For example : If the distance is 2^ in. the cus- 
tomer is either stooping, or has head forward, or has large blades in the first degree, and for each addi- 
tional Yz in. of incline the customer would be stipulated an additional degree. If the customer measures 
less than normal the incline indicates whether erect, head backward, or has small blades, in either first, 
second nr third degree, according to the amount he measures less than normal. 

The incline is obtained by placing the yardstick perpendicularly against customer's back, and with 
regular drafting square press against neck point. The distance on the measuring square from yardstick 
to neck point is the incline. For positions of incline see illustration Relative to Heights. For further 
instructions see Second Section of Measurements in connection with Definition of Types, and for appli- 
cation to drafting see \^ariations. 



44 



Variations 




Diagram A illustrates variation of head forward 
or backward in second degree. 

Solid lines show normal shoulder ; dotted lines 
illustrate variation of head backward ; dash lines il- 
lustrate variation of head forward. 



Point C is half way between A and B. Square 
out from C. 

Point 12 is half way between C and D. 

Sweep up and down from A, using point 12 as 
a pivot, and sweep up and down from X, using point 
12 as a pivot. 



Head Forward 

Stipulate degree of variation for head forward by 

either J4 in-- Y^ in. or ^ in. from A to 2 and X to 8. 

Rule a line from 2 to Z and square out by same 



line from point 2 as indicated by dash lines, thereby 
finding point 8 on front shoulder. 



Head Backward 

For head backward stipulate degree by either 34 point 7 on front shoulder, 

in., ■ 2 in. or % in. from A to 3 and X to 7. The other lines e.xplain themselves. Always study 

inclination and definition of types in connection with 



Rule a line from 3 to Z and square out by same 
line, as illustrated by dotted lines from point 3, finding 



thi 



s fliaarram. 



Variations 




^h^^'m^^ ^V^<>1 



Stooping 



Diagram B illustrates variation for stooping and 
erect. 

Solid lines illustrate normal, dash lines show 
stooping, and dotted lines illustrate erect. 

Point H is half way between W and B. 

Stipulate variation by 34 '"■> 3^ in. or y^ in. from 
B to 12. 



Draw a line from 12 to H and out as shown by 
dash line. 

Square up from same line from W, G, H and 12. 

12 to 2 is y^ breast measure, plus 3 in. 

Square out from 2 by dash line, finding point 8. 

Shape back, armhole, shoulders and neckhole as 
shown by dash line for stooping. 



Erect 



For erect, stipulate degree of variation 34 i") V^ 
in. or % in. from B to 13. 

Draw a line from 13 to H and out as shown by 
dotted breast line. 

Square tip from dotted line from W, G, H and 
point 13. 

13 to 3 is 1 3 breast measure, plus 3 in. 

Square out from point 3 as shown b)' dotted line 
and find point 7 . 



Shape back, armhole, shoulders and neckhole as 
shown by dotted line for erect. 

Always study definition of type and inclination in 
this connection, and thoroughly stipulate degree of 
variation. 

Width of back, the depth of neckhole as from 
Q to P, 10 to 15 and 9 to 14, are each 1-6 breast, the 
same as in normal coat. All points below breast line 
are found in the regular manner subject to variations 
and manipulations for sizes. 



Variations 




Diagram C illustrates large and small blade. 
Solid lines show normal, dash lines show large blade 
and dotted lines show small blade. 

Stipulate degree of variation by either 34 "''v /^ 
in. or % in., varying from G. 

G to 7 is for large blade and G to 8 is for small 
blade. 

It will be clearly seen that the' width, of back 
moves in same direction as front of scve. For ex- 



ample, from FI to 6 is same distance as from G to 8, 
anil from FI to 5 is same distance as from G to 7. 

Shape back, armhole and shoulders as shown 
by dash lines for large blade ; sharp armhole, 
shoulder, and back as shown by dotted line for small 
blade. 

Always study definition of types and inclination 
in connection with this diagram. 



Variations 




Diagram D illustrates sloping and square shoul- 
ders. Solid lines show normal, dash lines illustrate 
sloping, and dotted lines illustrate square. 

For SquaLre 

Stipulate degree of variation from point B by 
either 14 i"-, >2 in. or 34 in. from B to 2. 

Square out from point 2; from K to 5 is same 
distance as from B to 2 and Y to 9 is same distance as 
from B to 2. 

Shape as shown by dotted line for square. 



For Sloping 

Stipulate degree of variation by either ^ in., yi 
in. or ^4 ^n. from point B to point 3. 

Square out as shown by dash line. 

K to 4 is same distance as B to 3 ; Y to 7 is same 
distance as B to 3. Shape shoulder, armhole and 
front shoulder as shown by dash line for sloping. 

Always study definition of types in connection 
with this diagram. 



Variations, 




Diagram E illustrates long and short neck. 

The arrow shows point 1 and is half way be- 
tween B and W. 

Long Neck 

Rule a line from 1 to X and out. 

Stipulate degree of variation by ]\ in.. >'< in., or 
^4 in. for long neck from A to 2 and X to 6. 

Square out from 6. 



Shape top of back and front shoulder as shown 
by dotted line for long neck. 

Short Neck 

Stipulate degree of variation by Y^ in., Yz in., or 
% in. from A to 3 and from X to 7. 

Square out from point 7 by balance line. 

Shape top of back, front shoulder and neckhole 
as shown by dash line for short neck. 

Always study definition of type, in connection 
with this diagram. 



49 



Sleeves 




All sleeves must be produced from the size of 
armhole. Therefore, always measure your armhole 
and whatever the armhole is in circumference use 
that for 3-our size of sleeve. 

For example, if your armhole or scye is 18 in. 
in circumference use 18 as a drafting size for your 
sleeve. 

This sleeve is produced from an 18 in. armhole 
and is 18 in. in length from the armpit to the hand. 

To Dracft 

Square out and down from .\. 

A to C is 1/12 arm-scye. 

A to B is % arm-scye. 

B to E is 1/6 arm-scye. 

B to D is 1 in. 

B to P is full length of sleeve. 

P to R is V.A in. 

K is half way between B and P. 

Square out C, B, K and R. 

A to F is 54 arm-scye. 

A to G is 3^ arm-scye. 

Square down from G. 

H to J is 3^ arm-scye. 

C to L is 3^ arm-scye. 

P to N is 63/2 in., making a finished cuff ol 12 
inches. 

Shape as shown in illustration from D to L, F 
and H. 

Rule a line from E to J and shape as shown in 
illustration from D to J. 

Shape from H to N. 

Shape from P to N. 

Shape from J to O and N. 

K to 5 is ^ in. 

Shape as shown in illustration from D to 5 and P. 

If seam is desired under the arm add }^ in. 
from B to 1 and P to 3. 

Shape as shown by dasji line from D to 1, and 
1 to 3. 

Reduce the under-sleeve 'V^ in. from B to 2 and 
P to 4 and shape from 2 to 4. 



Sleeve for Stooping 
and Erect 



Sleeve for Narrow and 
Broad Shoulder 




In sleeves for stooping and erect balance line 
at front must be changed as shown by dotted and 
dash lines on diagram. 

For Stooping 

Dotted lines indicate stooping. 

Stipulate degree of variation by 3/2 in., 1 in. or 
\y2 in. from P to 2. Shape top and under sleeve as 
shown by dotted line from H to 2 and J to 2 — and 
from D to 2. 

For Erect 

Dash lines indicate erect. 

Stipvjlate degree of variation by J4 in., 1 in. or 
1^ in. from P to 1. Shape top and under sleeve as 
shown by dash lines from H to 1 and T to 1 — and 
from D to 1. 




If shoulders are narrow a high top is necessary 
on the sleeve, and if shoulders are wide the top of 
sleeve should be less. Therefore, in the diagram per- 
taining to high and low tops on sleeves, the dotted 
lines illustrate the high top and the dash lines the 
low top. The construction lines are the same as in 
the normal sleeve, which has been explained, but it 
must be understood that the amount you reduce the 
width of shoulder must be added to the sleeve and 
the amount you widen the shoulder of coat must be 
taken from the sleeve. Earnest attention should be 
oiven to this in drafting. 



Direct Measures 

Third Section of Measurements 

Having in the First and Second Sections of Measurements illustrated and instructed the manner 
and order in which measurements should be taken, as well as the Definition of types and the Degrees of 
Deformation and application to draft of these variations, I would like to have it understood that, while 
all measurements, as well as the Definition of Types, are a matter of judgment, that in application to 
the draft, the proportions, heights and circumference, as well as variation of attitudes, all spring from 
the same principle, and are, therefore, the fundamental and scientific part of this work. Measures 
heretofore taken in connection with the fundamental principles we shall, therefore, term proportionate 
measures, as they have reference only to lengths and circumference. Short, or direct measures are 
from the scientific point of view supplementary measures, as these measures can be taken from and to 
any part of the body and applied to and from any part of the draft. The name in itself is aggravating, 
and it would be unwise to rely on these supplementary measures for symmetry and grace, but in con- 
nection with fundamentals they act as a guide to attitudes. While proportions and variations have in 
the past been considered, and in fact, are a system in themselves, direct measures have also been 
known as an independent method for the production of clothes. Modern developments and practical 
application of both principles and theories are not only beneficial and practical, but a necessity, hence, 
this combination of the two principles: a methodical way of measurement, and application in connec- 
tion with fundamental and scientific proportions and variations. The term measuring means the 
application of the measuring tape to and from different parts of the body, thereby ascertaining that 
one part of the body is so many inches from another. If the space on which the measuring tape is 
applied differs from one side or the other, the different quantities of surface on which it was applied 
are either smaller or larger than normal. This is the theory of measurements and should be so under- 
stood. The most essential direct, or supplementary measures are as follows : 

Slope of shoulder. Blade measure. 

Depth of Scye. Front measure. 

Waist length. Strap measure. 

Length to seat. Over shoulder measure. 

The chalk marks made on the customer's back when proportionate measures were taken are meant 
to indicate the different stations for supplementary measures. In taking these direct or supplementary 
measures the utmost care should be exercised in order to have them as nearly correct as possible, 
as mismeasuring would cause all kinds of trouble in patterns and try-on. Toward this end it is hereby 
suggested to the student that he procure for himself a measuring square on which the various propor- 
tions of these measurements are stipulated, and with the tape attached to the angle of this square we 
will now, in a methodical way, proceed to take these supplementary measures. In measuring, stand 
behind the customer and place the end of the tape at point A, Plate 4. Pass the tape through your 
right hand to point Z, Plate 4, and register the measure for slope of shoulder. Next, pass the tape 
through the right hand to point B, Plate 4, and register the measure for depth of scye. Next, let the 
tape pass through the right hand to point C and register waist length from A to C, Plate 4. Next, pass 



'Direct Measures 







FU\e ± 




rii^^t 5. 



r.3 



the tape through the right hand to point D, and register length to seat, from A to D, Plate 4. Now, 
place the measuring square under the left arm. Be sure said square is placed well under the arm, 
but not so high that it would raise the shoulder of the customer. Particular care should be taken to 
ascertain that the square is placed exactly level. Now, recall the breast measure taken in the First 
Section of Measurements. Find the same figure on the square. Also, proportion figures for the sup- 
plementary measures in this connection, and while it is not certain that the measures taken will 
correspond with these proportionate measures, it will materially assist in obtaining better measure- 
ments than without these tables of proportions. Having the square properly placed, etc., as shown in 
illustration of front view, Plate 5, proceed to take measures as follows: 

From H of front view, Plate 5, under arm to B on back view, Plate 4, register blade measure. 
Next, turn tape around and over breast, and hold square in same position, and register front meas- 
ure from H to X, as per front view, Plate 5. Next, turn tape around and up on shoulder and to back 
of neck, and register strap measure from H on front view, Plate 5, to A on back view, Plate 4. Next, 
turn the tape over shoulder to point B, and register over shoulder measure from point H front view, 
Plate 5, to point B of back view, Plate 4. The complete measurements for a coat of the style of the 
ideal model for Supreme System you have entered in your measuring book stand as follows : 

Length 29 inches Seat 37 inches 

Width of back 14 " Sleeve 18^ " 

Breast 36 " Height 5 feet 8 

Waist 32 " Weight 135 pounds 

Incline ly^ inches 

Shoulder slope 3 inches Blade 11 inches 

Depth of scye 9 " Front 7 " 

Waist length 1?!^ " Strap 12 " 

Length to seat 23^ " Over shoulder 17 " 

While these are all the measures necessary, additional measures can be taken to and from any 
point of the body and incorporated with other supplementary measures and applied in the same man- 
ner over draft, but practical cutters do not take more measures than necessary, for the reason that it 
would be confusing, and my advice to beginners is to stay as near fundamental principles as possible, 
because supplementary measures are difficult to obtain correctly. By using proportions and variations 
as heretofore stipulated, apply these measures for your own satisfaction, and where direct, or supple- 
mentary measures differ from the fundamental, give proportions and variations at least half the bene- 
fit by cutting difference between the two points in two, placing the point in the middle. Direct meas- 
ures are of more value to the experienced cutter or advanced student, as by experience they have 
learned to take measurements with more exactness, so in application they are more experienced, con- 
sequently, they more thoroughly understand the value of these measures. The truth, however, is that 
a good, experienced cutter always lays up his proportions subject to height and circumference. He 
applies his variations to the draft according to the definition of attitude so as to place the different 
points in position for measurements and finally applies direct measurements as he finds practical and 
divides the difference between the fundamental and direct measures, as my advice to beginners shows. 



Application of Measurements 




Mea-sures Ots Follow^s : 



Breast 36 in. 

Waist 32 in. 

Height 5 ft. 8 in. 

Attitude Normal 

Obtain all scientific points by regulations for cir- 
cumference and height. 

Rule a line from X to G and down. 

From G to AA is 1/6 breast measure (or same 
distance as from A to T). 

Apply measure for depth of scye from A to B 
(no addition). 



Depth of scye 9 in. 

Blade H i"- 

Strap 12 in. 



B to 8 is blade measure. 

8 to G is 1>4 in. (addition necessary to blade 
measure for make up). 

Apply strap measure plus J4 in. from AA to X, 
and the three most essential measures have been ap- 
plied to draft with the proper additions. Read third 
section of measurements. 



Application of Measurements 




Mea.sures 

Breast ^8 in. 

Waist -56 in. 

Height 5 ft. 10 in. 

(For large blade second degree, long neck sec- 
ond degree.) 

To Dratft 



a.s FolIoNvs: 

Depth of scye 10/4 in. 

Blade 12 in. 

Strap 1-^34 in. 

Width of back 7^ in. 



First lay up normal draft subject to height and 
circumference. 

Promptly note variations and degree of same and 
apply them to draft as shown in illustration of varia- 
tion (see Diagram C and E on Variations), thereby 
placing your draft in position for measurements. 

Draw a line from X to D and down. 

D to AA is 1/6 breast measure, or same dis- 
tance from 6 to 3. 

Apply measure for depth of scye from B to 6. 



Apply blade measure plus V/z in. from B to D. 
(Note that point G is normal.) 

Apply strap measure, plus yi in., from AA to X. 

Apply measure for width of back, plus ^ in., 
as shown in illustration. 

Apply waist measure in regular manner from 12 
to 13 and 9 to 5. 

Add 3>^ in. for shape up on side of front part 
at waist. 

Read third section of measurements. 



56 



application of Measurements 




Me&sures 

Breast 40 in. 

Waist 40 in. 

Height, 5 ft. 8 in., stooping in second degree and 
sloping in second degree. 

Incline iyk in. 

Depth of scye 11 in. 

To 

First lay out your normal draft subject to height 
and circumference. 

Stipulate stooping in second degree as per Defi- 
nition of Types and incline. (See Diagram B — Vari- 
ations.) 

Next slope same in second degree. (See Diagram 
D — Variations.) 

Draft is now in position for measurements. 

Draw a line from X to D and down. 

D to A A is 1/6 breast measure, or same distance 
as from 4 to T. 



a.s Follows : 

Blade 12 in. 

Strap 1354 in. 

Over-shoulder 18^ in. 

Front 8 in. 

Width of back 8 in. 



Draft 

Apply depth of scye from 7 to 4. 

Apply blade measure plus 1^/2 in. from 7 to D. 

Apply strap measure, plus '< in., from AA to X. 

Apply over shoulder measure, plus 1 in., from 7 
to 14 and D to J. 

Apply measure for width of back, plus J^- in., as 
shown in illustration, and apply front measure, plus 
% in., from D to E. 

Apply waist measure in regular manner. 

Read third section of measurements. 



57 



Application of Measurements 




Li 



DIAG. N. 



lOl _5T 

asl cn| -$1 ^1 iai d ^1 SI ^g 



MeaLSures bls Follows 

Breast 36 in. 

Waist 30 in. 

Height 5 ft. 4 in., erect in second degree, small 
blade in second degree, square in second degree. 

Incline 1 M in- 

Depth of scye 7% in. 



Blade 10^ in. 

Strap 11J4 in. 

Over-shoulder 15^ in. 

Width of back 6i^ in. 

Front TYi. in. 



To Dracft 



First lay up regulation draft subject to height 
and circumference. 

Promptly note variations. 

Small blade is shown from G to D on this dia- 
gram ; also as shown by illustrations Diagram C — 
Variations. 

Next erect draft as per incline and definition 
of types as stipulated in Diagram B- -Variations. 

Next square same as shown by regulation illus- 
trated in Diagram D — Variations. 



Having finished these preliminaries, the draft is 
now in position for measurement. 

Apply all measurements and allow same addi- 
tions as previously illustrated and explained in these 
Applications of Measurements ; also note that these 
measurements call for small waist, therefore, take 
out a V in side and add 2 seams, or }4 in., to side of 
front part as shown by direction in diagram 2 show- 
inof small waist. 



58 



application of Measurements 




This diagram is produced for the purpose of il- 
lustrating how measurements are appHed in connec- - 
tion with exaggerations, and it will be clearly seen 
by illustration that depth of scye and strap are ap- 
plied in same manner as usual, as well as that of 
blade, with 1>4 in. addition, which is the total distance 
from B to G. 

See Diagram Page 27 on Exaggerations. 

G to D is the amount the coat is exaggerated, 
and this amount is allowed for draping necessary in 
an exaggerated garment, and is. therefore, not fig- 



ured in with the measurements, and these are the 
only three short measures to be applied in connec- 
tion with proportions and variations for an exagger- 
ated coat. 

In connection with the study and practice of these 
diagrams, thoroughly study the different types, height, 
circumference and exaggerations; also, the three dif- 
ferent sections of measurements. Be sure to read the 
introductory articles, as well as that on Theory and 
Practice, and try to commit same to memory, as all 
of these have direct bearing on these drawings and 
explanations. 



59 



Hunchback 



This diagram illustrates the manner in which a 
coat is drafted for regular hunchback. While same 
can be produced from proportions and variations, 
actual measures are of more value for a subject of this 
kind than for any other. 

Measures used as follows: 

Waist length 15 in. 

Length to seat 21 in. 

Full length 26 in. 

Breast 36 in. 

Waist i2 in. 



Square out and down from A. 
A to 18 is % breast measure. 
18 to 20 is 3 in. 

20 to B is 1^ in. for square. 
A to C is waist length. 

A to D is length to seat. 

A to E is full length of coat. 

Square out B, C, D and E. 

B to F is ip. breast measure. 

F to H is \y2 in. 

B to S is J^ breast measure. 

S to G is 3j4 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 254 in. 

Square down from I. 

Square up from W. 

Square up and down from G. 

Square up from H. 

Point 13 is half the distance between A to B. 

Square out from 13. 

Point 9 is half the distance between 13 to 7. 

Sweep up from A, using point 9 as a pivot. 

Sweep forward from 1, using point 9 as a pivot. 

A to V is % in. 

1 to X is ^ in. 

Rule a line from V to X. 

V to T is 1/6 breast measure. 

T to R is % in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

Rule a line from X to Z. 

K to 11 is same distance as B to 20, or lyi in. 

X to 21 is same distance as R to 11 minus 34 in- 

21 to Y is same distance as B to 20, or I54 in. 
Rule a line from X to Y. 

C to M is 14 in. 



Seat 36 in. 

Squared 1/4 in. 

Head forward in third degree. 

Direct measures applied: 

Upper width of back 14 in. 

Lower width of back 15 in. 

Depth of scye 7^ in. 

Blade 1 1 in. 

Front measure 7 in. 

Strap 10 in. 

Over-shoulder 16^4 in. 



To Draft 



Rule a line from 13 to M and down. 

H to 22 is % in. 

B to 19 is 34 in. 

Place corner of square at 22, letting short arm of 
same rest on point 19, and square down from 22. 

H to 15 is 1/12 breast measure. 

15 to 2 is J4 in. 

Apply measure for depth of scye from B to V. 

Apply blade measure plus 1J4 in. from B to G. 

Apply half upper width of back plus ^4 in. from 
Z to K. 

Apply half lower width of back plus 34 in. across 
back at point 17, as shown in illustration. 

Rule a line from X to G and down. 

G to AA is 1/6 breast measure, or same distance 
as from V to T. 

Apply strap measure plus 34 in. from AA to X. 

Apply over-shoulder measure plus 1 in. from B 
to 25 and G to 26. 

Apply front measure plus % in. from G to L 

Shape as shown in illustration from V to 13, V to 
R, R to 11, 11 to 2, 2 to 4 and down. 

L to is 5^ waist measure. 

Apply waist measure from 4 to M and to 8. 

8 to 3 is 334 in. 

Apply seat measure on % of divisions from 10 
to 14 and U to 10. 

10 to 12 is l}i in. 

Reduce front part 34 in. at point 2. 

Shape as shown by illustration from 2 to 3, 12 
and down. 

Sweep backward from point 5. using point 2 as 
a pivot. 

Sweep forward from 6 to 16, using point X as a 
pivot. 

Shape armhole as shown in illustration from Y 
to 2. 

Shape shoulder from Y to X. 



60 



Diagram for Hunchback 




X to Q is 1-6 breast measure. 

Shape as shown in ilkistration from Q to I, and 



down. 



Q to P is 1-6 breast measure. 
Rule a line from J to P. 
Shape neckhole from X to P. 



1 to 23 is iy2 in. 
to 24 is 1J4 in- 

Take out a V in gorge as shown in illustration. 
Shape lapel, front and bottom. 
Place collar and pockets in regular manner and 
finish as shown. 



61 



Overcoats 



The shifting and uncertain temperature wliich 
characterizes most of tlie northern hemisphere makes 
necessary an overgarment which may be put on or 
removed to suit the differences in climate. 

By common consent of well-dressed men the 
overcoat has been adopted in America as the model for 
this garment. Fashion in overcoats decrees many 
changes, sometimes rapid, other times slowly growing, 
yet in late years the fashionable models have been 
divided into the loose coats without a waist seam, 
and the frock overcoats, on the order of the New- 
market. 

First one style and then the other has the vogue, 
but seldom do the two general designs become pop- 
ular at the same time. 

When the frock overcoats are in favor the straight 
backed variety is usually not largely worn. 

The single-breasted frock overcoat is called the 
Newmarket, the double-breasted the Surtout. 

In the straight falling style there are two mod- 
els, the straight, box back overcoat, falling from the 



shoulders, and the sack or Chesterfield overcoat, 
which may be more or less body fitting. The short 
box overcoat is designed for riding, driving or country 
wear and is called a covert coat, from the material 
with which it is usually built. The ulster is a long 
box coat. 

There is little change of design in garments made 
from either light or heavy materials, for wear in cool 
or extremely cold weather, the material only makes 
the difiference between the spring and fall and tRe 
winter overcoats. 

In strictly dress overcoats, the Inverness with 
a cape, for evening wear, has been the favored gar- 
ment for a number of years, and while recently it has 
suffered an eclipse in favor of the sack overcoat, 
there is reason to believe it is slowly coming back into 
favor. Certainly no more graceful and becoming gar- 
ment could be worn for formal dress. 

Sometimes a novel idea in overcoats comes to 
the surface, but its reign is usually short lived. Such 
was the Raglan, which was so popular a few years 



Overcoats 





FRONT AND BACK VIEWS OF 
SINGLE BREASTED BOX OVERCOAT 



Exaggerated Single and Double Breasted Box Coat 



Mea-surements Used a.re a.s Follows 

Waist length 17i4 in 

Length to seat 24 

Full length of coat 45 

Breast 40 

Waist 36 

Seat 41 



in. 

in. 
in. 
in. 
in. 



Excess, four sizes. 

Height, 5 ft. 8 in. 

Attitude, normal. 

Direct measures : 

Depth of scye 9^ in. 

Blade 12 in. 

Strap 13 in. 



To Draft 



Square out and down from A. 

A to V is Vg, breast measure. 

V to B is 3 in. 

Apply measure for depth of scye from A to B. 

A to C is waist length. 

A to D is length to seat. 

A to E is full length of coat. 

Square out B, C, D and E. 

B to 4 is % regular breast measure. 

B to F is % exaggerated breast measure. 

F to H is \y2 in. 

B to S is 54 regular breast measure. 

S to 5 is 3^/2 in. 

Apply blade measure plus lj4 in. from B to 5. 

5 to G is 1 in., or ^4 in. for each size the garment 
is exaggerated, this garment being exaggerated from 
40 to 44. 

B to 3 is 1/6 regular breast measure. 

3 to W is J^ in. for each size the coat is exag- 
gerated. In this case the distance from 3 to W is 
y2 in. 

B to N is exaggerated breast measure. 

N to I is 2J4 in. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 regular breast measure. 

T to R is % in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

Rule a line from X to G and down. 

G to AA is 1/6 breast measure, or same distance 
as from A to T. 

Apply strap measure plus J^ in. from AA to X. 

Rule a line from Z to X. 

X to Q is 1/6 breast measure. 

L to O is half of regular waist measure plus 
% inch for every inch the coat is exaggerated. In 
this case 1 in. 

Shape as shown in illustration from Q to I, and 
down to 18. 



C to M is >^ in. 

Rule a line from V to M and down. 

From 14 to 18 is J^ exaggerated breast measure. 

Rule a line from S to 18 and down. 

From H to 17 is 1 in. 

Rule a line from B to 17 and out. 

K to 11 is 3-4 in. 

Add Ys, in. at top of back at point A. 

Shape as shown in illustration from A to R, R to 
11 and 11 to 2. 

Apply exaggerated seat measure, which in this 
case would be 45 on the two-thirds of the divisions 
from 18 to 14 and U to 10. 

10 to 12 is 31/ in. 

Reduce front part J4 in. at point 2. 

Rule a line from 2 to 12 and down. 

Sweep backward from 5 to 6, using point 2 as 
the pivot. 

Sweep forward from 6 to 18, using point X as 
the pivot. 

Q to P is 1/6 regular breast measure. 

Rule a line from J to P. 

Shape armhole as shown in ilUistration from Y 
to 2. 

Shape shoulder from Y to X. 

Shape neck hole from X to P and out. 

Extend a button-stand to front of 2 inches from 
I to 13, to 15 and 18 to 16 for single-breasted coat. 

Add 1 in. to front length at point 18. 

Shape front for single-breasted coat as shown by 
solid lines. 

For double breasted, dash lines illustrate the front 
part. 

Extend 4 in. on front from points I, and 18. 

Peak lapel as shown in illustration. 

Make width of lapel at top 3^ in. and take out 
V in the gorge, as shown in illustration. 

Place the pockets down % of the sleeve length. 

For top coat as shown by dot and dash lines pro- 
duce same coat as heretofore described with the ex- 
ception of the length, which may be 34 to 36 in. 



Exaggerated Single and Double Breasted Box Overcoat 




65 



Single Breasted Hewmarket and Double Breasted Surtout 



Solid lines indicate front of Newmarket and dash 
lines indicate the way the front is cut for surtout. 
This diagram is produced from the following meas- 
ures: 

Natural waist 17 in. 

Fashionable waist 18 J4 in. 

Full length of coat 48 in. 

Breast 40 in. 



Waist 36 in. 

Seat 41 in. 

Height 5 ft. 8 in. 



Square out and down from A. 

A to V is y^ breast measure. V to B is 3 in. 

A to C is natural waist length. 

A to D is fashionable waist length. 

A to E is full length of coat. 

Square out from B, C, D and E. 

Apply depth of scye from A to B. 

B to F is Vs breast measure. 

F to H is \y2 in. B to S is J/4 breast measure. 

S to G is 3y2 in. 

Apply blade measure plus !]/> in. from B to G. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2]/^ in. Square down from I. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is ^ in. Draw a line from W to R. 

C to U is 3^ in. Square down from U. 

Rule a line from V to U. 

U to 8 is J^ breast measure. 

Square down from 8. 

Square back from point K, finding point Z. 

K to 23 is % breast measure. K to 11 is X' '"• 

Add Ys in- to top of back at point A and shape as 
shown in illustration from A to R, R to 11, 11 to 23, 
23 to 8 and down to 16 as shown by solid lines. 

Sweep back from point 1, using point G as a pivot. 

1 to X is ;^ in. 

Rule a line from X to Z, and rule a line from X 
to G and down. 

G to AA is 1/6 breast measure, or same distance 
as A to T. 

Apply strap measure plus ^-j in- from AA to X. 

Square out from X by balance line. 

X to O is 1/6 breast measure. 

L to is 3^ waist measure. 

Shape from O to I. and down. 



Attitude, normal. 

Direct measures : 

Depth of scye 9^ in. 

Blade 12 in. 

Strap 13 in. 

To Draft 

22 to 9 is 1/6 breast measure. 
'■1- L to M is 2 in. M to 4 is >4 waist measure. 

4 to U is waist suppression, which is divided into 
three equal parts, as Figures 4, 2 and 3 indicate. 

8 to 7 is % waist suppression, or same distance 
as 2 to U. 7 to 6 is V^ waist measure. 

6 to 5 is % waist suppression, or same distance 
as 4 to 2. Rule a line from 23 to G. 

, 13 to 23 is Yi in. 24 to 10 is ^ in. 

Shape as shown in illustration from 13 to 7 and 
down to 10 and from S to 6 and 20; also from S to 5 
and 21. Shape bottom of sidebody from 10 to 20. 
Shape bottom of front part as shown in illustra- 
tion from 21 to 9 and out. 

to P is 1/6 breast measure. 
Rule a line from J to P and out. 
X to Y is same distance as from R to 11 minus 

Y& in. 

Shape armhole as shown in illustration from Y 
to 13. 

Shape shoulder from Y to X. 

Shape neckhole from X to P. 

1 to 18 is 2 in. to 19 is 2 in. 
Make width of lapel from 28 to 27, 3>-^ in. 
Shape from 27 to 18, 19 and down to 12. 
Square down from 12 by fashionable waist line. 
12 to 33 is 9 in. ii to 34 is Y& in. 
Rule a line from 12 to 34 and down. . 
10 to 14 is % seat measure. 
14 to 15 is 1/12 seat measure. 
Rule a line from 10 to 15 and down. 
10 to 17 is same distance as D to E plus J/2 in. 
12 to 25 is same distance as 10 to 17 minus 1 in. 
Add 34 in. to top of skirt at point 10 and shape 

top of skirt as shown by illustration from 10 to 12. 

Add y, in. at point 15 to back of skirt, and shape 
as shown by solid lines from 10 to 17, and shape from 
17 to 25. Take out a \' in front part as shown. 



Note dash lines at front of coat. 
Level your square from 9 to 22 and rule up same 
as in double-breasted frock. 

Lapels and front for surtout are produced in ex- 
actly the same manner as those of double-breasted 



For Surtout 

frock, with the exception that width of lapel averages 
Y2 in. wider. 

The front of skirt is also produced in the same 
manner as double-breasted frock. 

Therefore, see diagram of same on another page 
of this volume. 



Single Breasted Newmarket and Double Breasted Surtout 




67 



Inverness 

MeeLSuremervts Used Are As Follows: 

Waist length 18 in. Waist 36 in. 

To seat 24 in. Seat 41 in. 

Length 48 in. Length of cape 34 in. 

Breast 40 in. Breast, waist and seat exaggerated 4 sizes each. 



To 

Square out and down from A. 

A to V If', breast measure. 

V to B is 3 in. A to C is waist length. 

A to D is length to seat. 

A to E is length of coat. 

Square out B, C, D and E. C to M is >4 in. 

Rule a line from V to M and down. 

B to F is % exaggerated breast measure. 

F to H is V/i in. 

B to S is J4 regular breast measure. 

S to 22 is Zy2 in. 

22 to G is J4 in. for each size the garment is 
exaggerated; in this case the garment is exaggerated 
4 sizes, consequently the distance from 22 to G is 1 in. 

G to 21 is 1/6 regular breast measure. 

21 to W is J4 in., being Y^ in. for each size the 
garment is exaggerated. 

B to N is exaggerated breast measure. 

N to I is 2^ in. Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is % in. Rule a line from W to R. 

14 to 20 is J4 breast measure. 

Rule a line from K to 20 and down. 



Dracft 

Square back from K, finding point Z. 

Rule a line from X to Z. 

■ X to Q is 1/6 breast measure. 

L to is J 2 waist measure plus J4 in. for each 
size the coat is exaggerated. 

Shape as shown in illustration from Q to I, and 
down to bottom of coat. 

Apply seat measure on % of divisions from 20 
to 14 and U to 10. 

10 to 12 is 3>4 in. 

Rule a line from 2 to 12 and down. 
■ G to 35 is 13/2 in. Square back from 35. 

O to P is 1/6 breast measure. 

Rule a line from J to P. 

Shape armhole, shoulder and neckhole as shown 
in illustration. 

Sweep back from 5, using point 2 as a pivot, and 
sweep forward from 6, using point X as a pivot. 

Add 1 in. to front length at point 16 and shape 
from 6 to 19. 

Add 2 in. for button stand from P to 29, I to 13, 
to 15 and 16 to 19. 

Shape front as shown in illustration and body of 
coat is finished. 



Cape 



This cape is drafted over coat and is traced off 
from draft on another paper. Front and shoulder 

To 

X to Y is same distance as R to K. 
Y to 17 is 1 in. 

Rule a line from 36 to V and out. 
Apply measure for length of cape as taken over 
shoulder from X to Y and 17 to 24. 

Sweep forward from 24, using point X as a pivot. 
Add 1 in. to length of cape at 23. 
From Y to 18 is 4 in. 



point are in same place as those of coat. Shoulder 
of cape is shape of regular coat. 

DraLft 

Shape as shown in illustration from Y to 18 and 
17 to 18. 

Shape from 36 to 17. 

From 17 to 27 is same distance as from K to 2, 
plus ^ in. 

24 to 28 is 7 in. for vent in side. 

From 2 to 25 and 2 to 26 is same distance as from 
27 to 28. 



From. P to 33 is same distance as from A to R and 
X to P. 

33 to 34 is 1^4 in. 

Shape as shown in illustration frf>m 34 to P. 



Collar 

To Dra.ft 

Shape from ZZ to P. 



33 to 32 is 3 in. P to 31 is 3 in. 
Shape as shown in illustration from 34 to Zi 
and 52. Shape from 32 to 31 and P to 31. 



68 



Inverness 




Full Evening Dress 



Custom decrees that when formal evening dress 
is required, the long-tailed coat which has earned the 
name of evening coat should be worn. 

It is necessary that there should be uniformity in 
formal dress and for this reason well-dressed men 
are a unit in deciding the use and the usage for eve- 
ning dress. 

To deviate even slightly from established custom 
in formal dress is to make one unduly conspicuous, 
and no gentleman likes to render himself an object of 
remark. 

The formal evening coat is worn after 6 o'clock 
in the afternoon at any formal occasion, such as wed- 
dings, receptions, balls, the opera and theater, when- 
ever ladies are present. No other costume can be held 
by any excuse to be correct. 



The garments should be of black material, al- 
though a slight tendency toward gray is sometimes 
allowable. The trousers are braided on the outside 
seam. The waistcoat is white, of duck or silk, single 
or double breasted, either plain or corded. 

With the full dress coat a plain white shirt, with 
two or three pearl studs, is worn. The collar is either 
straight front or poke ; the tie a white lawn bow with 
broad ends ; the shoes patent leather with button tops. 
or patent leather pumps for dancing ; the gloves white 
kid, and hat, silk or opera. This fashion is subject 
to slight variations from season to season, but in its 
general effect will doubtless be unchanged for many 
years. 



70 



Full Dress 




VIEWS OF FULL EVENING DRESS AND EVENING 
COAT WITHOUT STRAP AND LAPEL SEAMS 



Full Dress Coat 



Solid lines at front indicate regular dress coat. 
Dash lines illustrate the manner in which the dress 
coat is cut without strap or lapel seam, the following 
measures being used : 

Natural waist 17 in. 

Fashionable waist 18^ in. 

Full length of coat 40 in. 

Breast 36 in. 

To 

Square out and down from A. 

A to V is % breast measure. 

V to B is 3 in. 

Check same distance by measure for depth of 
scye. 

A to C is natural waist length. 

A to D is fashionable waist length. 

A to E is full length of coat. 

Square out B, C, D and E. 

C to U is 5^ in. 

Square down from U and rule a line from U to V. 

B to F is % breast measure. 

F to H is 1% in. 

B to S is ^ breast measure. 

S to G is 33^2 in. 

Apply blade measure plus I3/2 in. from B to G. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2>4 in. 

Square down from I ; square up from W. 

Square up and down from G and square up 
from H. 

A to T is 1/6 breast measure. 

T to R is M in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

Sweep back from point 1, using point G as a pivot. 

1 to X is >4 in. 

Rule a line from X to Z and rule a line from 
X to G and down. 

G to AA is 1/6 breast measure, or same distance 
as A to T. 

Apply strap measure, plus J4 in. from AA to X. 

U to 8 is J^ breast measure. 

Square up and down from 8. 

From K to 23 is yi breast measure. 

K to 11 is >< in. 

Add 14, in- to top of back at point A and shape 
as shown in illustration from A to R, R to 11, 11 to 
23, 23 to 8 and down. 

L to M is 1^ in. 

M to 4 is 3/2 waist measure. 



Waist 32 in. 

Seat 37 in. 

Height, 5 ft. 8 in. 

Weight, 135 pounds. 

Attitude, normal. 

Direct measures applied : 

Depth of scye 9 in. 

Blade . . . .\ 11 in. 

Strap 12 in. 

DraLft 

Distance from 4 to U is waist suppression, which 
is divided into three equal parts, as Figures 4, 2 
and 3 indicate. 

8 to 7 is % of waist suppression, or same dis- 
tance as 2 to U. 

7 to 6 is J4 waist measure. 

6 to 5 is % waist suppression, or same distance 
as 4 to 2. 

Square down from 7. 

L to is ^ waist measure. 

to 25 is 34 in. 

Square out from X. 

X to Q is 1/6 breast measure. 

Shape as shown by illustration from Q to I, 25, 
22 and down. 

22 to 9 is 1/6 breast measure. 

24 to 10 is ^ in., 23 to 13 is Y^ in. 

Shape as shown by illustration from 13 to 7 and 
down to 10. 

Shape from S to 6 and 20, and shape from S to 5 
and 21. 

Shape sidebody from 10 to 20, and shape bottom 
of front part from 21 to 9. 

O to P is 1/6 breast measure plus % in. 

Rule a line from % in. forward of J to P. 

X to Y is same distance as R to 11, minus ^ in. 

Shape armhole as shown in illustration from Y 
to 13. 

Shape shoulder from Y to X. 

Shape neckhole from X to P. 

Lay your square level from 9 to 22 and draw a 
line up to 27. 

Square out from P by having square level with 
balance line finding point 27. 

Rule a line from G to 27 and out. 

9 to 23 is iy2 in. 

23 to 18 is 2 in. 
27 to 28 is 234 in. 

Shape outside of lapel from 28 to 18. 
Take out a V in front part as shown in illustra- 
tion. 



Full Dress Coat 



For Front Without 

Strap and Lapel 

Seam 

Note dash line on front part 
coming down to point 23, and 
reduce front at point 18, '4 in., 
or same as two seams. This 
will leave the lower part of 
front in one piece. 

Skirt 

10 to 14 is 1/3 seat measure. 

Square back from 14. 

14 to 15 is 1/12 seat measure. 

Rule a line from 10 to 15 and 
down. . 

9 to 12 is i< in. 

12 to 19 is 2 in. 

19 to 29 is 1/3 of the distance 
of 9 to 24. 

Add J4 in. to top of skirt at 
point 10, and shape top of skirt 
as shown by illustration from 
:o to 12. 

From 10 to 17 is same dis- 
tance as D to E, plus 1/2 in. 

Add 3/4 in. to point 15 and 
shape back of skirt as shown 
by illustration. 

17 to 26 is same distance as 19 to 29. 
Rule a line from 29 to 26. 

Shape front of skirt from 29 to 26, and shape 
bottom as shown by illustration from 17 to 26. 

Shape top of skirt for full dress coat without 
strap and lapel seam as shown by dash line. Take 
out \' in front part at front end of skirt. 

Add \y2 in. to back from D to E. for back 
tack, and finish as shown. 




The Tuxedo or Dinner Coat 




WITH SHAWL ROLL 
The dinner coat, or Tuxedo, as it is called in 

America, was designed first for a lounge coat for 
evening wear to be put on in the evening when the 
dress coat was taken off. In England, where large 
house parties are the rule, and full dress is universal, 
after dinner the men of the party frequently resort to 
the smoking or billiard room when the ladies have 
retired. The dinner coat was then donned, with the 
trousers and waistcoat of the dress clothes. From 
this beginning the dinner coat grew to the dignity 
of a distinct costume, to be worn as dress when only 
men are present. At clubs, men's dinners, etc., it is 
correct. 

Many men imagine that the Tuxedo costume may 
be worn interchangeably with the dress coat, and 
at the theater, formal dinners, balls, etc., where la- 
dies are present it is frequently seen. 



AND NOTCH COLLAR 

Nothing could be in worse taste, and nothing 

shows more clearly how little a man knows about 
correct dressing than such wear of a Tu.xedo. 

In its proper place, among men, it is a sightly, 
easy garment, which is very well liked by men who 
like to be comfortable and at the same time well 
dressed. 

It may be worn with a vest of the same material 
as the coat, which is usually black or Oxford gray, 
or with a fancy vest of steel gray. The shirt is white 
and pleated, the collar a turn over or wing, and the 
tie a black bow, or of a color to match the vest. 

The coat may have either a shawl or notch col- 
lar, either being in good taste. 

The Tu.xedo being a sack coat, requires to be 
worn with it a soft or derby hat, never a silk or 
opera hat. 



The Tuxedo or Dinner Coat 




To Dracft 

Draw up your crease lines from the bottom of 
the roll or from 5 to 2. 

Take out a V of 1^ in. from 2 to 1. 
Point 3 is 1J4 in. below breast line. 

Run same V to point 3, as shown in illustration. 
This is done whether there is a shawl collar or a peak 
lapel dinner jacket. 

1 to 4 is 3 inches. 



If shawl collar is desired, shape as shown in illus- 
tration, from 4 to 5. 

If peak lapel is desired, peak lapel according to 
style. 

4 to 6 is 2y2 in. 

Shape as shown by dash lines in illustration from 
4 to 6 and 6 to 5. 

All other points are the same as in a regular 
sack coat. 



Cassock 

Mea.sures as Follo\vs: 

Natural waist 17 in. Breast 36 in. 

„,.,,. . r, . Waist 32 in. 

i-ashionable waist ly in. t-u r ^ r *i • ^ i -u ^o u ^^ j 

1 he front of this coat closes with 32 buttons and 

Full length ' 58 in. button holes. 

To Draft 

Square out and down from A. Sliape as shown in illustration from A to R, R to 

A to V is i-g breast measure. 11, 11 to 23, 23 to 8 and down to 28. 

V to B is 3 in. Rule a line from G to 23. 

A to C is natural waist length. 23 to 13 is ^ in. 

A to D is fashionable waist length. S to 5 is 1^/2 in. 

A to E is full length of coat. 30 to 27 is % in. 

Square out from B, C, D and E. Shape as shown in illustration from 13 to 7 and 27. 

B to F is % breast measure. Shape from 5 to 6 and 20 and shape from 5 to 

F to His 1>4 in. M and 21. 

B to S is J4 breast measure. ' Shape bottom of side body from 27 to 20 and 

5 to G is 3j^ in. shape bottom of front part from 21 to 9. 
G to W is 1/6 bi-east measure. . O to P is 1/6 breast measure. 

B to N is breast measure. Rule a line from J to P. 

N to I is 2^4 in. ' Rule a line from X to Z. 

Square down from I. X to Y is same distance as from R to 11 minus 

Square up from W. ^ in. 

Square up and down from G. Shape armhole as shown in illustration from Y to 

Square up from H. 5 and 13 to 5. 

A to T is 1/6 breast measure. Shape shoulder from Y to X and shape neck- 

T to R is 34 in. hole from X to P. 

Rule a line from W to R. Rule a line from A to 28 and down. 

Square back from K, finding point Z. Rule a line from 35 to D and down. 

Sweep back from point 1, using point G as a Rule a line from J to 30 and down, 

pivot. _ Sweep forward from E to 16 and back from E 

1 to X is J^ in. to 18, using point D as a pivot. 

Square out from X by balance line. From 30 to 17 is same distance as 28 to 16. 

X to O is 1/6 breast measure. 12 to 19 is same distance as 28 to 16 minus 1 in. 

L to is I/2 waist measure. Shape top of skirt as shown in illustration from 

Shape as shown in illustration from O to I, and 30 to 9. 

down. Extend a plait of 2 in. as shown in illustration 

22 to 9 is 1/6 breast measure. from D to 33 and 18 to 34. 

L to M is 2 in. Extend a plait of 2 in. as per illustration from 

M to 4 is 5^ waist measure. 30 to 32 and 17 to 31. 

4 to C is waist suppression, which is divided into Extend a plait of 2 in. as shown in illustration 

three equal parts, as Figures 4, 3 and 2 indicate. from 28 to 30 and 16 to 29. 

C to 8 is 1/6 breast measure. From P to 26 is Ij^ in. 

8 to 7 is % waist suppression, the same dis- I to 25 is lj4 in. 

tance as from 2 to C. to 24 is l]^ in. 

7 to 6 is 34 waist measure. 9 to 12 is 1>^ in. 

6 to M is ifi waist suppression, or same distance Shape as shown in illustration from 26 to 25, 24 
as 4 to 2. to 12 and down to bottom. 

K to 23 is 1/6 breast measure. Put on standing collar of l.)4 in. width, as shown 

K to 11 is 14 in. in illustration. 

76 



The Cassock 






Totble of Proportiona-te Mea.sures 1 


Tom 


Height a-nd Circumfere 


nee 




Breast 




6^ 


6-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6 ft. 


Hlade 


Front 
Measure 


Width 
of Back 


Waist 


32 


Depth of Scye. . . 
Strap 


101^2 

15 
18 


■7ys 

18H 


8 

10% 
15% 
18% 


8% 
10% 
15% 
18% 


8% 
11 

15% 
19 


8% 
11% 
15% 
19% 


8% 
11% 
16 
19% 


8% 
11% 
16% 
19% 


8% 
11% 
16% 
20 


10 


6 


6% 


28 




Over-shoulder. . . 
Length of Sleeve. 




33 


Depth of Scye. . . 
Strap 


8 
10 M 

153-s 

17% 


10?^ 
151-^ 
18 


8% 
11 

1554 
18% 


8% 
11% 
15% 
18% 


8% 
11% 
16 
18% 


8% 
11% 
16% 
19 


8% 
11% 
16% 
19% 


8% 
11% 
16% 
19% 


9 

11% 
16% 
19% 


10% 


6% 


6% 


29 




Over-shoulder . . . 
Length of Sleeve. 




34 


Depth of Scye. . . 
Strap 


8J^ 
11 

15?s 

17^/8 


8H 

1138 

15-M 


8% 
11% 
16 
18% 


8% 
11% 
16% 
18% 


8% 

11% 
163% 
18% 


8% 
11% 
16% 
18% 


8% 
11% 
1634 
19% 


9 

11% 
16% 
19% 


9% 
12 

17% 
19% 


10% 


6% 


6% 


30 




Over-shoulder. . . 
Length of Sleeve. 




35 


Depth of Scye. . . 
Strap 


83 s 
17:J-s 


n% 

16 

17% 


8% 
11% 
16% 
17% 


8% 
11% 
16% 
18% 


8% 
11% 
16% 
18% 


9 

11% 
16% 
18% 


9% 
12 
17 
18% 


9% 
12% 

17% 
19% 


9% 
12% 
17% 

19?8 


10% 


6% 


6% 


31 




Over-shoulder. . . 
Length of Sleeve. 




36 


Depth of Scye. . . 
Strap 


8J2 

11 lo 
161-4 


8H 
11% 
16% 
17M 


8% 
11% 
16% 
17% 


8% 
11% 
1634- 
18 


9 

12 
17 

18% 


9% 
12% 
17% 
18% 


9% 
12% 
17% 
18% 


9% 
12% 
17% 
19 


9% 
12% 
17% 
19% 


11 


7 


7 


32 




Over-shoulder . . 
Length of Sleeve. 




37 


Depth of Scye. . . 
Strap 


8jg 

iiM 

16?-^ 
17 


8M 
11% 
16M 
17M 


8% 
12 
17 
17% 


9 

121^ 
17% 
17% 


9% 
12% 
17% 
18 


9% 

12% 
17% 
18% 


9% 
12% 
17% 
18% 


9}^ 

12% 
17% 
18% 


9% 
1234 

18% 
19 


11% 


7% 


7% 


33 




Over-shoulder. . . 
Length of Sleeve. 




38 


Depth of Scye. . . 
Strap 


12 

163^ 


9 

12% 

17 

17% 


9% 
12% 
17% 
17% 


9% 
12% 
17% 
17% 


9% 
12% 
17% 
17% 


9% 

12% 
17% 
18% 


9% 

12% 

18 

18% 


9% 

12% 
18% 
18% 


9% 
13 

183% 
18% 


11% 


7% 


7% 


34 




Over-shoulder. . . 
Length of Sleeve. 




39 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


9 

1214 

17M 
16^ 


9% 

12% 
17% 
16% 


9% 
12% 
17% 
17% 


9% 

12% 
17% 
17% 


9Vo 

ml 

18 
17% 


9% 
12% 
18% 
17% 


9% 
13 

18% 
18% 


9% 

i3;s 

18% 
18% 


10 

13% 
18% 
18% 


11% 


7% 


7% 


35 


40 


Depth of Scye. . . 

Strap ; 

Over-shoulder . . . 
Length of Sleeve. 


9M 
12 J^ 

175^ 
16,1 2 


9% 
12% 
1734 
1534 


9% 

12% 

IS 

17 


9% 
12% 
18% 
17% 


9% 
13 

183^ 
17% 


9% 
13% 
18% 
17% 


10 

13% 
18% 
18 


10% 

1338 

18% 
18% 


10% 
13% 
19% 
18% 


12 


8 


7% 


36 


41 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


■ 1234 
17J^ 
16M 


9% 
12% 
18 
16% 


9% 
13 

18% 
16% 


9% 
13% 
18% 
17 


9% 
13% 
18% 
17% 


10 

13% 
183% 
17% 


10% 
13I9 
19 

17% 


10% 
13% 
19% 
18 


10% 
13% 
193^ 


12% 


8% 


7% 


37 


42 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


13 

18M 
161^ 


9M 
13% 
18% 
16% 


9% 
13% 

18% 
16% 


10 

13% 
188% 
16% 


10% 
13% 
19 
17% 


10% 

13% 
19% 
17% 


103-8 
1334 

19% 
17% 


10% 

13% 
19% 
17% 


10% 

14 

181-8 


12% 


8% 


8% 


38 


43 


Depth of Scye. . . 

Strap 

Over-shoulder . . . 
Length of Sleeve. 


9M 
131^ 
181^ 
15Ks 


.9% 
13% 
18% 
16% 


10 

13% 
18% 
16% 


10% 
13% 
19 

16% 


10% 
13% 
19% 
16% 


10% 
13% 
19% 
17% 


10% 
13% 
19% 
17% 


10% 
14 

19% 
17% 


10% 

14% 
19% 
17% 


12% 


8% 


8% 




44 


Depth of Scye. . . 


15M 


10 

131^.-^ 
18% 
16 


10% 
13% 
19 
16% 


10% 
13% 
19% 
16% 


10% 

13% 

19% 

. 16% 


10% 
14 

19% 
17 


10% 
14% 
19% 
17% 


10% 
14% 
19% 
17% 


10% 
14% 
20% 
17% 


13 


9 


8% 






Over-shoulder . . . 
Length of Sleeve. 




45 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


10 
131.^ 

18Js 
I5I3 


10% 
13% 
19 
15M 


10% 
1334 
19% 
16 


10% 
13% 
19% 
16% 


10% 
14 

19% 
16% 


10% 
14% 
19% 
16% 


1034 
14% 
19% 
17 


10% 
14% 
20% 
17% 


11 

14% 
20% 
17% 


13% 


9% 


8% 




46 


Depth of Scye. . . 
Strap 


101^ 
133:1 

19 

153 8 


10% 

13% 
1914 
15% 


10% 
14 

19% 
15% 


10% 
14% 
19% 
16% 


10% 
14% 
193% 
16% 


103% 
1434 
19% 
16% 


10% 
14% 
201^ 
16% 


11 

14% 
20% 
17% 


11% 
14% 
20% 
17% 


13% 


9% 


8% 






Over-shoulder. . . 
Length of Sleeve. 




47 


Depth of Scye. . . 
Strap .... 


10J4 
137^ 
1914 

151^ 


10% 
14 

19% 
15% 


10% 
14% 
19% 
15% 


10% 
14% 
19% 
15% 


10% 
14% 
20 
16% 


10% 
14% 
20% 

163,;^ 


11 

14% 
20% 
16% 


11% 
143% 
20% 
16% 


11% 

14% 

203/r 

17% 


1334 


934 


9 






Over-shoulder. . . 
Length of Sleeve. 




48 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


lOVs 
14 

193^ 
15 


101^ 
141.^ 
19% 
15% 


10% 
14% 
1934 
15% 


1034 
14% 
19% 
153X 


10% 
14% 
20% 
16 


11 

14% 
20%- 
16% 


11% 

143i 

201., 
16% 


11% 

14% 
20% 
163X 


113<s 

15 

20% 

17 


14 


10 


9% 





Theories and Practice 

The practical cutter and the advanced student who have studied cutting as a science will no doubt 
recognize in this work many of the ideas they have proved to be of good practical value. At the same 
time they will observe many new ideas introduced and expressed, which may be in direct opposition to 
their views, as well as in opposition to the opinions of other system makers and instructors of cutting. 
While it is not my intention to criticise anybody else, or his work, there is no doubt that many of the 
ideas I have expressed will to a considerable extent revolutionize some of the practices which have 
been in use heretofore and have been accepted as correct, but which are in fact nothing but fallacious 
theories. 

For instance, it has been a common practice to lay up the normal points of a coat and then to 
apply direct measures without having arranged the points in position for measurement. For example: 
Where the depth of scye is 54 of an inch longer than normal, measures are applied direct without the 
cutter knowing the reason why the depth is greater. The Second Section of Measurements, as described 
in this volume, has been either ignored or else the cutter does not know anything about scientific varia- 
tions, and the consequence is that this measure has been applied before regulating the draft for the 
type or form which causes this measure to be 3^ inch longer. The reasons for the excess length could 
be traced to one or more of the following types : Height, stooping, sloping, or long neck. It is 
essential that this be thoroughly understood. If it is not, see diagrams and instructions. 

The same applies to the strap measure, or any other measure which may be long or short in com- 
parison with the normal. There must be a reason for this increase or decrease in length from normal, 
and this reason can be found promptly if it is stipulated when measurements are taken, in the Second 
Section of Measurement, and may be remedied in a scientific way by adhering to the illustrations and 
instructions of variations. First laying out the proportionate points, applying height and circumference, 
and next, variations, according to definition of types. It will be readily seen that the points have changed 
positions, and by this operation the different points are placed in graphic harmony with each other, 
and the draft is then in position for measurement that is less conflicting. In fact, if the types have 
been correctly stipulated and measurements accurately taken, there should be no difference between 
the measurements and variations. At the same time the garment will have the proper fitting points and 
retain the symmetry and grace of the ideal model. While it has been for various reasons subjected 
to scientific variations and methodical measurements, yet balance and fitting points have been retained. 



79 



The shoulder point has been a subject of much discussion in the trade, but from a scientific point 
of view the shoulder point has only a fixed relation to the neck that a point in the circumference has 
to any circle. It has nothing to do with what is commonly called straight or crooked shoulders. To 
attempt to fix the shoulder point by direct measurement, or by any other means without reference to 
the top of the back is wrong. For instance, a stooping figure is as a rule also round-backed, and to 
reduce the length of front shoulder of a coat without reference to the back is fallacious, yet, even in 
some modern methods, such theories are put in practice. The length of the back determines whether 
there is to be a straight or crooked shoulder. (See diagram for stooping and erect). 

Raising or lowering of the back and increase or decrease of the distance from A to B demands 
raising or lowering of the shoulder point. Therefore, to alter the shoulder point without reference to 
the back is out of the question. An independent shoulder point has no existence, and crooked and 
straight shoulders are only terms. The word "term" is something that has no independent 
influence. The location of the so-called shoulder point is entirely dependent on the increase 
or decrease given to the length of the back to produce the intended effect, fit, or character of the 
garment. To produce a well-balanced garment necessitates all parts of the coat being in strict har- 
mony with each other, and this important feature can not possibly be secured by any process of meas- 
uring that is practicable for students to use, without the aid of proportions and variations. The style 
of a garment depends entirely on the taste and individual skill of the cutter in adapting the garment 
to the type and figure, and in making it the proper size so as to dress the customer correctly. 



80 



VEST SECTION 

The Supreme Vest System 
with Instructions How to 
Measure and Apply Meas- 
urements to Vests; also 
Proportion Tables* 



81 



Proportiona.te Front Length for Vests from Height and Circumference 



Breast. 



32 

33 

34 

35 

36 

37 

38 

39 

40 

41 

42 

43 

44 

45 

46 

47 

48 

Proportionate Waist Length 
of Vests 



5-4 



23 

231 

23* 

23f 

24 

24i 

24A 

24J 

25 

25i 

25i 

25| 

26 

■261 

264 

26f 

27 



5-5 



16 



23i 

23* 

23i 

24 

24i 

24* 

24f 

25 

25i 

25* 

25f 

26 

26i 

26* 

26f 

27 

27i 



16} 



5-6 



234 

23f 

24 

24i 

24^ 

24} 

25 

25i 

25* 

25f 

26 

26i 

26* 

26f 

27 

27i 

274 



16* 



5-7 



23f 

24 

24i 

24* 

24} 

25 

251 

25* 

25} 

26 

26} 

26* 

26} 

27 

27} 

27* 

27} 



16} 



5-8 



24 

24} 

24* 

24} 

25 

25} 

254 

25} 

26 

26} 

26* 

26} 

27 

27} 

27* 

27} 

28 



5-9 



17 



24} 
24* 
24} 
25 

25} 
25* 
25} 
26 

26} 
26i 
26} 

27 

27} 

27* 

27} 

28 

28} 



■'i 



5-10 



244 

24} 

25 

25} 

25* 

25} 

26 

26} 

26* 

26} 

27 

27} 

27* 

27} 

28 

28} 

284 



17* 



5-11 



24} 

25 

25} 

25* 

25} 

26 

26} 

26* 

26} 

27 

27} 

27* 

27} 

28 

28} 

28* 

28} 



17} 



6 ft. 



25 

25} 
25* 

25} 

26 

26} 

26* 
26} 

27 

27 

27* 

27} 

28 

28} 

284 

28} 

29 



18 



82 



Vests 




>»(•. "^'^ 




^ 



1 








MODELS OF THE DIFFERENT FANCY AND REGULAR VESTS COMMONLY WORN 



83 



How to Measure 

Vests 

After having ascertained the style desired and arranged the vest so that it is smooth front and 
back, proceed to take measurements over vest as follows: 

1. Measure as shown in illustration for actual opening desired from A on back view to E on 
front view. 

2. Measure as shown in illustration for full length of vest from A on back view to F on 
front view. 

3. Measure as shown in illustration to side from A on back view to G on front view. 

4. Measure all around breast as shown in front view illustration. Measurements taken should 
be medium snug. 

5. Measure all around waist as shown in front view of illustration. Measurements taken should 
be medium snug. 

Height and weight of customer are essential in order to prove up breast measure with the table 
of breast measures compounded from heights and weights, and also so as to designate the proportionate 
length of depth of scye and waist. 

Measurements for vest when entered in order book should stand as follows: 

Opening Breast 

Full length Waist 

Length to side 

For the different attitudes and deformations, see Definition of Types or Second Section of Meas- 
urements. For short or direct measures, such as depth of scye, waist length, blade, strap, over shoulder 
and front measure, see Third Section of Measurements. 



84 



How to Measure Vests 












fprn'/y 






W^^'- 




85 



Proportionate Vest 



Mea.sures a-s Follows: 



Waist length 1" in. 

Opening 1 1 in. 

Front length 25 in. 



Length to side 22 in. 

Breast 36 in. 

Waist 32 in. 



To Draft 



Square out and down from A. 

A to V is I3 breast measure. 

V to B is 3 in. 

A to C is waist length. 

Square out from B and C. 

B to F is 1/3 breast measure. 

F to H is lyi in. 

B to S is J4 breast measure. 

S to G is 3 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2 in. 

Square down from I. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is % in. 

Rule a line from W to R. 

Square back from K, finding point Z. 

C to M is 1 in. 

Shape as shown in illustration from Z to M and 



down. 



Sweep back from point 2, using point G as a 



pivot. 



2 to X is J4 in. 

Rule a line from X to Z. 

2 to O is 1/6 breast measure. 

L to is 5^ waist measure. 

Shape from Q to I, and down. 



Apply measure for opening plus 1 in. from A to 
T and X to 8. 

Apply measure for full length plus 1^4 in. from 
A to T and X to J. 

Apply measure to side plus 1 in. from A to T 
and X to 6. 

L to 3 is 1 in. 

G to P is 1/12 breast measure. 

M to 5 is J4 waist measure. 

5 to 4 is 1 in. 

Shape as shown in illustration from P to 3 and 6. 

Shape from P to 4 and 7. 

J\I to 10 is V/i in. 

Shape from 10 to 7 and shape from 6 to J. 

K to E is 34 in. 

Shape from A to R and R to E. 

X to Y is same distance as R to E minus J4 >"• 

Shape armhole as shown in illustration ^ in. 
below breast line and Yi in. in front of balance line 
from Y to E. 

Shape shoulder from Y to X. 

X to 13 is % in. 

Shape as shown by solid lines from 13 to 8, from 
8 to and to J. 

Place vest pockets as shown, lower pocket 4 in. 
from bottom, and make lower pocket 4j/2 in. in length. 

Make breast pocket 4 in. in length. 

Extend button-stand as shown by dotted line, to 
be used only on right side of vest, and single-breasted 
vest is completed. 



Double Breasted 



For double-breasted vest see dash line on front. 
Make distance from solid line to point 11, 4 in. 
Make distance from J to 12, 2}i in. 



Shape as shown in illustration from 8 to 11, 11 
to 12 and J to 12, and double-breasted vest is finished. 



86 



Proportionate Single and Trouble Breasted Vest 




87 



Vest for Stout Figure 



Waist length i/ in- 
Opening 12 in. 

Full length 29^ in. 



Mea-sures bls Follou's: 

. ... 17 in. Length to side 23^ in. 



Breast 48 in. 

Waist 50 in. 



To Dracft 



Square out and down from A. 
A to 42 is Ys of 42 on divisions. 
A to 48 is 1/3 of breast measure. 

V is half way between 42 and 48. 

V to B is 3 in. 

A to C is waist length. 

Square out B and C. 

B to F is % breast measure. 

F to H is iy2 in. 

B to S is ^ breast measure. 

S to G is 3 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2 in. 

Square down from I. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is ^ in. 

Rule a line from R to W. 

Square back from K, finding point Z. 

Sweep back from point 2, using point G as a 
pivot. 

From 2 to 13 is J/2 in. 

From 13 to X is J^ in. for each inch waist meas- 
ure exceeds breast measure, in this case being 48 
breast and 50 waist, the distance from 13 to X is ^ in. 

Rule a line from X to Z. 

From L to is ^ waist measure. 

From to 12 is ^ in. for each inch waist meas- 
ure exceeds breast measure, in this case being 48 
breast and 50 waist, the distance from to 12 is % in- 

2 to Q is 1/6 breast measure. 

Shape as shown by dotted lines from Q to I and 
12. 

Square down from 12. 

Add from I to 15 as much as is necessary to get 
a good shaped front, or an average of J/^ in. for each 
inch waist measure exceeds breast. 

From M to 11 is J/^ in. for every inch waist meas- 
ure exceeds normal. In this case waist measure is 
6 in. over normal, consequently the distance from M 
to 11 is J4 in. 



Shape as shown by illustration from V to 11 and 
down. 

From 11 to 5 is J^ waist measure. 

From 5 to 14 is 1 in. 

From 14 to 4 is same distance as to 12. 

G to P is 1/12 breast measure. 

L to 17 is 1 in. 

K to E is % in. 

Shape as shown by illustration from A to R and 
R to E. 

Apply measure for opening plus 1 in. from A to 
T and X to 8. 

Apply measure for full length plus 1J4 in. from 
A to T and X to J. 

Apply measure for side length plus 1 in. from A 
to T and X to 18. 

X to Y is same distance as R to E minus 54 in- 

P to 16 is same distance as 1 to 15. 
Shape as shown by illustration from 16 to 17 and 
down to 18. 

Shape from P to 4 and 7. 

11 to 10 in 1% in. 

Shape from 10 to 7. 

Extend ^ in. to front at point X and shape as 
shown by illustration. 

Shape front from 8 to 12 and down to J. 

Shape armhole as shown by illustration from E 
to P. 

Shape front of armhole as shown by solid lines 
of illustration from Y to 16 and taking out as much 
more in armhole as distance from P to 16. 

Shape from 18 to J. 

Place pocket and cut same open and lay a plait at 
point 10 as much as to make opening between 3 
and 9, J/g in. for each inch waist measure is over nor- 
mal ; in this instance waist measure exceeds normal 
by 6 in., therefore the distance from 3 to 9 is % in. 

Add ^2 in. for seams at 6. 

Shape from 6 to J. 

Extend button stand of }i in. as shown by dotted 
line of front according to illustration to right side 
and finish as represented. 



Vest for Stout Figure 




S9 



Trouble Breasted Vest With Separate Lapel. Also Full 
Bress Vest With Small Waisted Effect 

Measures a^s ^ollo^vs: 

Waist leneth 17 in. Length to side 22 in. 



Opening 10>4 in. 



Full length. 



Breast 36 in. 

Waist 30 in. 



To Draft 



All systematical points are oJDtained in same man- 
ner as in regular draft, hut it will l>e noticed the 
measures call for 30 waist, while the hreast is still 
36, making the waist measure 2 in. smaller than 
normal. 

In applying waist measure from L we find point 
9, but the front must have the normal shape as point 
indicates, and a V is taken out in the side, as shown 
in front part, which, when seamed up, will eliminate 
the distance from 9 to 0, making the front part nar- 



row at the waist and retaining the width over the 
chest. 

h""rom M to 15 is J/^ in. for each inch the waist is 
smaller than normal. 

A V is taken out in the back so as to reduce the 
width at waist, having the same efiiect as that of the 
front part. 

In other details the opening remains the same as 
in resrulation draft. 



Double Breasted Vest With Separate Lapel 



Lay square level from point J to and square up, 
finding point 15. 

Square forward and back from 15 through 8. 
15 to 14 is same distance as from 8 to 15. 



Make width of lapel 4 in. at point 11. 
From J to 12 is 2 in. 

Shape as shown in illustration from 8 to 0, 14 to 
0, 14 to 11, 11 to 12 and J to 12. 



Full Dress Vest 



For full dress vest use dash lines in front part of 



vest. 



Measure for whatever opening is desired plus 1 
in. from 2 down and shape as shown by dash line and 
full dress vest is completed. 



Be sure all the points are thoroughly understood, 
as while system remains the same for all vests, subject 
to variations which will be given hereafter, various 
fronts are only additions and deductions according to 
the |iurposc for which the vest may be designed. 



90 



Double Breasted Vest With Separate Lapel. Full Dress 

Vest With Small Waisted Effect 




Variations 



■7^>> 




^foy^tnp' / Qi-ecl 




Diagram F. Illustrates variations for stoopingand erect. Solid lines show normal. Dash lines 
illustrate stooping, and dotted lines illustrate erect. Point H is half way between W and B. 



Stooping 



Square out from 10 by dash line finding point P. 



Stipulate variations of }i in., >4 in or % in. from 
B to 8. 

Draw a line from 8 through H and out as shown 
by dash line. 

Square up by same line from H, G and W and 8. Shape back, armhole, shoulder and opening as 

8 to 10 is 1/3 breast measure, plus 3 in. shown by dash line and stooping is finished. 



18 is found by sweeping back from P as in regu- 
lar draft. 



Erect 

Stipulate degrees of variation of 1,4 in., yi in. Square out from point 11 by dotted line, finding 

or % in. from B to 9. point M. 

Draw a line from 9 through H and out as shown 19 is found in regular manner by sweeping back 

by dotted line. from M. 

Square up by dotted line from \V, G, H and 9. Shape back, armhole, shoulders and opening as 

9 to 11 is i/j breast measure, plus 3 in. shown by dotted line, and erect is finished. 



92 



Variations 




DIACC. 



Diagram G. Illustrates large and small blades. 
Solid lines illustrate normal ; dash lines show large 
blade, and dotted lines illustrate small blade. 

Stipulate degree of variation of J4 in., /^ in. or 
^ in., varying from point G. 

G to 7 is for large blade and G to 8 is for small 
blade. 

It will be clearly seen that the width of the back 



moves in either direction as the front of scye is moved. 
For example : 

From H to 6 is same distance as G to 8, and 
from H to 5 is same distance as G to 7. 

Shape arnihole, shoulder and opening as shown 
by dash line for large blade. 

Shape armhole, shoulder and opening as shown 
bv dotted line for small blade. 



Variations 




Diagram H. Illustrates sloping and square. 
Solid lines illustrate normal ; dash lines show slop- 
ing, and dotted lines illustrate square. 



For Squatre Shoulder 



Stipulate variation from point B of J4 iri-, J^ in- 
or % in. from B to 8. 
Square out from 8. 
From E to D is same distance as B to 8. 



Y to 11 is same distance as E to D. 

Shape as shown by dotted line for square shoul- 



der. 



For Sloping 



Stipulate degree of variation by ^ in,, lA in. or 
% in. from point B to 9. 

Square out from 9 as shown by dash line. 
E to L is same distance as B to 9. 



Y to 10 is same distance as E to L. 
Points R and X remain same as normal vest. 
Shape shoulder and armhole as shown by dash 
line for sloping shoulder. 



Variations 




j^ng / Bit Of/ i^fifl . 



For Long Neck 

Stipulate degree of variation of '4 in., J/^ m. or 
}i in. for long neck from A to 5, and X to D. 

Square out from 5, and shape top of back, front 
and shoulder as shown by dotted lines for long neck. 



Diagram J. Illustrates long and short neck. 
Solid lines illustrate normal. Dash lines show short 
neck, dotted lines show long neck. 
Rule a line from H to X and out. 

For Short Neck 
Stipulate degree of variation of J4 i"-, /^ i'l- or 
34 in. from A to 6 and X to L. 

Square out from 6 and shape top of back, front 
and shoulder as shown by dash line for short neck. 

Be sure to study incline and definition of types 
in connection with these diagrams of variations. 



93 



J^otch Collar Vest for Corpulent Figure 



Meatsures a.s Follows : 



Waist length 17 in. 

Opening 13 in. 

Full length 28 in. 

To side 23 in. 

Breast 42 in. 

Waist 42 in. 



Direct measures applied : 

Depth of scye lOYs in. 

Strap 13J/2 in. 

Blade 12>^ in. 

Over shoulder 19 in. 

Attitude, normal. 



To Dra.ft 



Square out and down from A. 
A to V is y^ breast measure. 
V to B is 3 in. 
A to C is waist length. 
Square out B and C. 
B to F is % breast measure. 
F to H is \y2 in. 
B to S is J^ breast measure. 
S to G is 3 in. 

G to W is 1/6 breast measure. 
B to N is breast measure. 
N to I is 2 in. 
Square up from W. 
Square up and down from G. 
Square up from H. 
A to T is 1/6 breast measure. 
T to R is ^ inch. 
Rule a line from W to R. 
Square back from K, finding point Z. 
Apply depth of scye from B to A. 
Apply blade measure plus 1 in. from B to G. 
Sweep back from 2, using point G as a pivot. 
From 2 to X is 3^ in. 
Rule a line from X to G and down. 
G to AA is 1/6 breast measure, or same distance 
as A to T. 

Apply strap measure plus ^ in. from AA to X. 
Rule a line from X to Z. 

Appl}!- over-shoulder measure plus 1 in. as shown 
in illustration from B to 13 and G to 14. 
2 to O is 1/6 breast measure. 
L to is J/2 waist measure. 
C to M is 1 in. 



M to 11 is J/2 in., or ]4, in. for each size waist 
measure is over proportion. 
, 11 to 5 is ^ waist measure. 

5 to 4 is 1 in. 

L to J is 1 in. 

G to P is 1/12 breast measure. 

Apply measure ftjr opening plus 1 in. from A to 
T and X to 8. 

Apply measure for full length plus IJ/2 in. from 
A to T and X to J. 

Apply measure to side plus 1 in. from A to T 
and X to 12. 

Add % in. to front at point X and shape opening 
as shown by solid lines, and shape front from 8 to 
and down. 

Shape from P to J and 12. 

Shape from P to 4 and 7. 

11 to 10 is lJ-2 in. 

Shape from V to 11 and 10 to 12. 

K to E is ^ in. 

X to Y is same distance as R to E minus 34 in. 

Shape as shown in illustration from A to R and R 
to E. 

Shape armhole from E to P and Y to P. 

Shape shoulder as shown in illustration from Y 
to X. 

Place pocket and make plait in front of pattern 
as illustrated in draft and make opening between 3 
and 9 oi ]4, iu- for each size vest is larger over waist 
than normal ; in this case it would be 3/2 in., and add 
1/2 in. for seams at 6. 

Shape from 6 to J. 

Extend button stand of 9-4 inch to right side and 
finish. 



96 



N.otch Collar Vest for Corpulent Figure 




Clerical Vest 




MeaLSures a.s Follows: 

Waist length 17 in. Breast 38 in. 

Full length. 25i^ in. Waist 34 in. 

Side length 22 in. 

To Dra.ft 

All systematical points are obtained in the same which will serve as button stand. 

manner as for regular draft. Shape another part as indicated by dash line for 
From O to 8 is 1/6 breast measure. side where button holes are to be put in. 
Shape as indicated from X to 8. Place one button hole at point X and one op- 
Rule a line from where collar is attached down to posite Y and put six button holes at side. 

bottom at side as indicated by dotted line. Draw up collar as indicated in diagram and finish 

This will give you a separate part for right side , as shown. 

98 



TROUSERS SECTION 

The Supreme System for 
Trousers with Instructions 
How to Measure, How to 
Apply Measurements and 
Proportion Tables. 

LOFa 



ProportioncLte InseaLin of Trousers 



To be Used in Connection with the Table of Sizes for Coats. 



Breast 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 


Seat 


32 


30f 


31i 


311 


32} 


32f 


33} 


33f 


34} 


34f 


33 


33 


30i 


31i 


31i 


321 


32* 


33i 


33^ 


34J 


34* 


34 


34 


301 


m 


31f 


31| 


32f 


32| 


33f 


33J 


34f 


36 


36 


30i 


30| 


3U 


31f 


32} 


32f 


33} 


33f 


34} 


36 


36 


30 


30^ 


31 


3U 


32 


32* 


33 


33i 


34 


37 


37 


29f 


30| 


30| 


3U 


311 


32| 


32f 


33} 


33f 


38 


38 


29f 


m 


30f 


3U 


31f 


32J 


32f 


33J 


331 


39 


39 


29^ 


29J 


30A 


301 


31i 


31i 


32* 


32J 


33* 


40 


40 


29i 


29f 


30i 


30f 


31} 


31f 


32} 


32f 


33} 


41 


41 


29i 


29i 


30J 


30^ 


31i 


3H 


32^ 


32* 


33J 


42 


42 


28J 


291 


29| 


30| 


30J 


31i 


31i 


32i 


32| 


43 


43 


28i 


29J 


29i 


30} 


30J 


31} 


31f 


32} 


32f 


44 


44 


28^ 


29 


29i 


30 


30* 


31 


3U 


32 


32^ 


46 


46 


281 


281 


29J 


29f 


301 


30f 


31f 


31f 


32} 


46 


46 


28J 


28f 


29i 


29f 


30i 


30| 


31J 


31f 


32i 


47 


47 


271 


28* 


28J 


29* 


29| 


30^ 


m 


SH 


31J 


48 


48 


27f 


28J 


28i 


29} 


29f 


30} 


30i 


31} 


31| 


49 



ProportionaLte Rise in Trousers 









In Connection with Heights and Seat Measure. 






Seat 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 




32 


7* 


7f 


7i 


7| 


8 


Si 


8} 


81 


8^ 




33 


7f 


7| 


8 


Si 


8} 


81 


Si 


8f 


8f 




34 


8 


Si 


8} 


8i 


8i 


81 


8i 


81 


9 




36 


8} 


81 


8* 


8f 


8f 


81 


9 


9i 


9} 




36 


s* 


Sf 


81 


8t 


9 


n 


9} 


91 


9i 




37 


81 . 


Si 


9 


n 


9} 


9| 


9* 


9f 


n 




38 


9 


n 


9} 


9f 


9^ 


9f 


91 


91 


10 




39 


9} 


91 


9* 


9f 


9f 


9J 


10 


101 


10} 




40 


9i 


9f 


9f 


9J 


10 


10^ 


10} 


lOf 


10^ 




41 


9f 


91 


10 


m 


10} 


lOf 


10* 


lOf 


lOf 




42 


10 


m 


10} 


lOf 


10* 


101 


lOf 


lOt 


11 




43 


10} 


10| 


10* 


lOf 


lOf 


lOi 


11 


Hi 


11} 




44 


10* 


lOf 


lOf 


101 


11 


Hi 


11} 


Hi 


lU 




45 


lOf 


lOJ 


11 


iH 


11} 


iif 


11* 


HI 


llf 




46 


11 


Hi 


11} 


iif 


11* 


iif 


111 


Hi 


12 




47 


11} 


Hi 


11* 


iif 


111 


111 


12 


12i 


12} 




48 


11* 


iif 


111 


iij 


12 


121 


12} 


12f 


12* 





Waistband not Included. 



100 




101 



How to Measure 



Trousers 

At the start, request the customer to adjust his trousers so that they will fit up in the crotch to 
the extent desired. Next, have him stand erect so that the body rests well on the legs with the feet 
about 8 inches apart, so as to give free play for measurements. 

1. Measure outside seam from point A at the waist to point B at the bottom. See illustration. 

2. Measure for inside seam from point C close up in crotch to point F to the heel of the shoe. 
See illustration. 

3. Measure waist all around the body over the waist band, drawing tape moderately tight. 

4. Measure seat all around the body at point D, the most prominent part of the seat. 
Request the customer to stand with his heels together while this measurement is taken. This 

measurement should be taken moderately easy. For corpulent or stout figures, measurements may be 
taken over the abdomen half way between waist and seat. 

5. Measure all around knee, as shown in illustration. 

6. Measure all around bottom of trousers at point F. 

Measures for knee and bottom are subject to style and individual taste in a great measure. 
The regular measures for trousers when entered in the order book should stand as follows: 

Outside seam Seat 

Inside seam Knee 

Waist Bottom 



Having completed measurements, take a careful examination of the customer, and request him to 
place his heels together. Place your hand between his legs at knee. If there is a distance between 
the legs of two fingers' breadth, he is slightly bow-leg. Breadth of three fingers would indicate that 
he was bow-leg in medium degree, and the breadth of the hand would indicate bow-leg in the extreme 
degree. Notice whether he bends over or whether he requires a long front to trousers, or whether he 
has a large or flat seat ; notice whether he has large or small hip, and whether he spreads his feet out 
or keeps them close together when in a natural position. Note all these deformations in the measuring 
book so that in drafting a pattern you can use variations to overcome these difficulties. As far as 
measurements are concerned, it is possible to take them correctly relative to length and circumference, 
but unless the various attitudes and deformations have been stipulated at the time measurements were 
taken, thus enabling you to use variations in drafting, the result will be unsatisfactory. 



How to Measure Trousers 




103 



Proportionate Trousers 



Mea.surements a-s Follows: 

Outside length 41>4 in. Seat . .-. 

Inside length 32 in. 

Waist 32 in. 



2)7 in. 

Knee 18 in. 

Bottom . . . . ■ 16 in. 



Square out and down from A. 

A to B is outside length. 

B to C is inside length. 

D is J4 way between B and C. 

D to E is 2 in. 

Square out C, E and B. 

C to F is J4 seat measure. 

F to 6 is 3^ in. 

6 to S is j^ seat measure. 

S to G is 34 in. 

H is 54 way between G and C. 

Square up from H. 

B to I is % seat measure. 

Rule a line from H to I. 

J to K is J4 waist measure. 



To Draft— Front Part 

J to L is ^ waist measure. 

M to O is ^ knee measure. 

M to V is ^ knee measure. 

I to R is ^ bottom measure. 

I to P is J4 bottom measure. 

Rule a line from K to F and from K to 6. 

Rule a line from O to R and from V to P. 

Shape as shown in illustration from L to C, V 
and down. 

F to T 1/6 seat measure. 

Shape from T to G and from K to S. 

Shape from G to O and from S to O. 

Reduce length of front 1 inch at point I and 
shape as shown in illustration from P to R. Front 
part finished. 



Bacck PaLrt 



Cut out front part. Place on another paper and 
draft back part as follows : 

Rule a line across from V to U and from P to N. 

Sweep forward from S, using point O as a pivot. 

Sweep forward from L, using point F as a pivot. 

Sweep backward from L, using point V as a 
pivot. 

Sweep backward from C. using point V as a 
pivot. 

S to W is 1/12 seat measure. 

O to U is 1 in. 

R to N is 1 in. 

Place corner of square at point T, letting long 
arm of same rest on point C, and square up from 
T to X. 



C to Z is \y2 in. 

Apply seat measure from 8 to T and 9 to 4. 

4 to 5 is 1^ in. 

X to 3 is 34 waist measure plus 1 in. for seams. 

X to Y is 1/ seat measure plus 1 in. 

3 to 1 is Vy in. 

Take out a V between 1 and 2 of the difiference 
between 3 and Y minus two seams. 

Shape as shown in illustration from X to T and 
down to VV, from W to U and down to N. 

Shape from Y to 5, Z, V, and down to P. 

Shape as shown in illustration from P to N. 

Shape from Y to 1 and 2 to X. 

Finished. 



104 



Proportionate Trousers 




105 



Peg Top Trousers 




Mea-sures Used a.s Follows: 

Outside seam 41 J/^ in. 

Inside seam 32 in. 

Waist i^ in. 

Seat 38 in. 

Bottom 16 in. 

Excess of size over hip 4 in. 

To Draft 

All systematical points are obtained in tiie same 
manner as in proportionate trousers with the excep- 
tion that the knee measure is ignored. Excess of size 
is J4 ii- for each inch of exaggeration from C to 5 ; 
in this case 1 in. 

Shape as shown bj' solid line from L to 5 and 
down to P. 

5 to Z is IJ^ in. 

Shape back part as shown by solid line in illus- 
tration from Y to Z and down to P. 

Straighten lines at point on front part and shape 
as shown by solid line from S to R. 

Straighten line at point U on back part and shape 
as shown by solid lines from W to N. 

All other points remain the same as for regular 
draft and can be subjected to same variations as illus- 
trated and stipulated elsewhere. 



106 




Dress Trousers 

Produced from the following measures: 

Outside scam . . .40 in. Seat 36 in. 

Inside seam ....31 in. Knee 18 in. 

Waist 31 in. Bottom 15>4 in 

To Draft— Front Part 

Square out and down from A. 

A to B is outside length. 

B to C is inside length. 

D is 5^ way between B and C. 

D to E is 2 in. 

Square out C, E and B. 

C to F is J/2 seat measure. 

F to 6 is 3^ in. 

6 to S is ^ seat measure. 

S to G is ^ in. 

H is y2 way between G and C. 

Square up from H. 

B to I is l^ seat measure. 

Rule a line from H to I and square up from H. 

J to K and J to L are each % waist measure. 

M to O and M to V are each % knee measure. 

I to R and I to P are each % bottom measure. 

Shape as shown by dash line from L to C, V 
and down to P. 

Shape as shown b_y dash line from S to O and 
down to R. 

Rule a line from K to F and from K to 6. 

F to T is 1/6 seat measure. 

Shape as shown in illustration from T to G and 
from G to O and K to S. 

BaLck PaLrt 

Cut out front part, place same on another paper 
and draft back part as follows : 

Line across from P to N and V to U. 

Sweep forward from point S, using point O as 
a pivot. 

Sweep forward from point L, using point F as 
a pivot. 

Sweep back from L, using point V as a pivot. 

Sweep back from C, using point V as a pivot. 

S to W is 1/12 seat measure. 

O to U is 1 in. 

R to N is 1 in. 

C to Z is lYz in. 

Place corner of square at point T and let long 
arm of same rest on point C, and square up, finding 
point X. 

X to 3 is J^ waist measure. 

3 to Y is 1 in. 

Shape as shown in illustration from Y to Z, V 



and P, from Y to X, from X to T and W, and from W to U and N. 
Shape bottom as shown in illustration and finish as shown. 



Trousers for Corpulent Figure 



Measurements as Follows: 

Outside seam 43 in. Abdomen 47 in. 

Knee 21 in. 

Bottom 17 in. 



Inside seam 31 in. 

Seat 44 in. 

Waist 45 in. 



Square out and down from A. 

A to B is outside length. 

B to C is inside length. 

D is ^ way between B and C. 

D to E is 2 in. 

Square out C, E and B. 

C to F is J4 seat measure. 

F to 6 is 5/2 in. 

6 to S is J^ seat measure. 

S to G is ^ in. 

H is 3/2 way between G and C. 

Square up from H. 

B to I is % seat measure. 



Cut out front part and lay on another paper and 
draft back part as follows : 

Line across from P to N and V to U. 

Sweep forward from S, using point O as a pivot. 

Sweep forward from L, using point F as a pivot. 

Sweep back from L, using point V as a pivot. 

Sweep back from point C, using point V as a 
pivot. 

S to W is 1/12 seat measure. 

C to Z is lj4 in. 

Place corner of square at point T, letting long 
arm of same rest on C, and square up from T, finding 
point X. 

Apply seat measure from 15 to T and 1 to 4. 

4 to 7 is 1^ in. 

Apply measure for abdomen from 9 to 8 and 
2 to 10. 



To Draft 

Rule a line from H to I. 
Square up from F, finding point 11. 
J to K and J to L are each ^4 waist measure. 
From K to Q is same distance as from 11 to K. 
Rule a line from K to F and K to 6. 
F to T is 1/6 seat measure. 
Shape as shown in illustration from O to S and 
from Q to T and G. 

M to O and M to V are each y^ knee measure. 
I to R and I to P are each J4 bottom measure. 
Shape from L to C, V and down to P. 
Shape from S to O and down to R. 
Shape from G to O. 

Back Part 

10 to 5 is 1 in. 

Apply waist measure from L to O and X to 3. 

From 3 to Y is 1 in. 

O to U is 1 in. 

R to N is 1 in. 

Shape as shown by solid line in illustration from 
Y to 5, 7, Z, V and down to P. 

Shape from Y to X and from X to 2, 1, T and 
down to W. 

Shape from W to U and down to N. 

Shape from P to N. 

If an easier pair of trousers be desired, sweep 
back part backward as shown by dash lines, take off 
% in. at X, adding same amount at 14, also adding 
same amount at point 12, and shape as shown by dash 
lines, and finish. 



108 



Trousers for Corpulent Figure 




Variations 

The upper part of this diagram ilhistrates the 
manner of handhng regular drafted pattern for long 
and short front. Solid lines illustrate normal, dash and 
dot lines illustrate long front, and dotted lines illustrate 
short front. 

Long Front 

Square back from point T, obtaining normal line. 

Stipulate degree of variation by ^4 '"■. Vz in- or 
% in. from T to 9. 

Rule a line from 9 to 25. 

Square up from 22, finding point 5. 

Square back and forth from 5 through L. 

From 5 to 2 and 5 to 4 are each >4 waist measure. 

Rule a line from 2 to 9. 

Shape as shown in illustration from 2 to 9 and 
down. 

Shape from 4 to 25. 

Shape from 4 to 2. 

Short Front 

Stipulate degree of variation by J4 i"-, V^ in. or 
% in. from T to 8. 

Rule a line from 8 to 25. 

Square up from 24, finding point 7. 

Square back and forth from 7 through L. 

Apply yi waist measure from 7 to 1 and 7 to 3 
each. 

Rule a line from 1 to 8. 

Shape as shown by dotted lines from 1 to 8, 3 to 
25, and 3 to 1. 

Open and Closed Trousers 

Lower part of this diagram illustrates how to vary 
trousers for open and closed ; also called large and 
small hip. 

Line drawn from H to I represents normal ; dotted 
line illustrates closed and dash and dot line illustrates 
open trousers. 

Closed Trousers 

For closed trousers stipulate degree of variation 
by Yi in., 1 in. or 1>4 in. from I to N. 

Rule a line from H to N. 

From N to 11 and N to 12 are each ]i bottom 
measure. 

20 to 15 and 20 to 19 are each V4 knee measure. 
Shape as shown b\' dotted lines of illustration 

from S to 15 and 11. 

Shape from C to 19 and 12. 

Open 

Stipulate degree of variation In- ]A in.. 1 in. or 
lJ/2 in. from I to O. 

Rule as shown by dash and dot line H-Q. 

O to 13 and O to 14 are each y^ of bottom meas- 
ure. 

21 to 16 and 21 to 18 are each J/4 knee measure. 




Shape as shown by dash and dot line from C to 
18 and 14. 

Shape from S to 16 and 13. 




Variations 

Upper part of this diagram illustrates manner in 
which flat and large seat is obtained. Solid lines on 
back part illustrate normal; dash and dot lines illus- 
trate large, and dotted lines illustrate flat seat. 

Large Seat 

Stipulate degree of variation by >4 in., ]/> in. or 
^ in. from T to 18. 

Place corner of square at 18, letting long arm of 
same rest on C, and square up as shown Ijy dash and 
dot line. 

X to 4 is same distance as T to 18. 

Measure up trousers in regular way, thereby find- 
ing point 7. 

W to 8 is half the distance from T to 18. 

Shape as shown in illustration from 7 to 4, 4 to 
18, and 18 to 8. 

Shape from 8 to U. 

Shape as shown by dash and dot line from 7 
down. 

Flat Seat 

Stipulate degree of variation by >-4 in., ^ in. or 
i/^ in. from T to 19. 

Place corner of square at 19, letting long arm of 
same rest on C. 

Square up from 19. 

X to 3 is same distance as T to 19. 

W to 9 is half the distance from T to 19. 

Measure for waist in regular way and shape as 
shown by dotted line in illustration from 10 to 3, 3 to 
19 and 19 to 9. 

Shape from 9 to U and Y down. 

Bow Leg a-nd Knock Knee 

Lower part of this diagram illustrates the man- 
ner of varying for bow leg and knock knee. 

Line H-I illustrates normal ; dotted line illustrates 
bow leg, and dash and dot line knock knee. 

Bow Leg 

Stipulate degree of variation by >4 in. 
1>4 in. from I to N for bow leg. 

Rule as shown by dotted line from M to N. 
N to 11 and N to 12 are each Y^ bottom measure. 
Rule as shown by dotted line from to 11. 
Rule from V to 12 for bow leg. 

Knock Knee 

Stipulate degree of variation by >2 in. 
1>4 in, from I to O. 

Rule as shown by dash and dot line from M to Q. 

Q to 13 and O to 14 are each Y^ bottom measure. 

Rule as shown by dash and dot line from to 
13 and V to 14 for knock knee. 



1 



m. or 



1 



m. or 



Combinations of Variations 

Mea.sures Used: 

Outside seam 42 in. Knee 19 in. 

Inside seam 32^4 in. Bottom 16 m. 

Waist 33 in. Definition of Typt-s — Small hip, knock knee, short 

gg^,. 39 in, front and large seat. 



To Draft 



Square out and down from A. 

A to B is outside length. 

B to C is inside length. 

D is half way between C and B. 

D to E is 2 in. 

Square out C, E and B. 

C to F is J/2 seat measure. 

F to 6 is )^ in. 

6 to S is 5^ seat measure. 

S to G is % in. 

H is half way between G and C. 

Square up from H. 

B to I is % seat measure. 

I to 16 is 1 in. for small hip. 

Rule a line from H to 16. 

16 to 18 is 1 in. for knock knee. 

Rule a line from M to 18. 

J to Q and J to K are each ^ waist measure. 

Rule a line from F to K. 

F to T is 1/6 seat measure. 



Square back from T, finding 15. 

T to 8 is ^ in. for short front. 

Rule a line from 8 to 15. 

Square up from 13, finding point 10. 

10 to 5 and 10 to 12 are each }i waist measure. 

Rule a line from 5 to 8. 

M to and M to V are each ^ knee measure. 

18 to R and 18 to P are each % of bottom meas- 
ure. 

Rule a line from to R. 

Rule a line from V to P. 

Shape front part as shown by dash line from 12 
to 5 and 5 to 8 and G. 

Shape from 5 to S. 

Shape from S to 0. 

Shape from G to 0. 

Shaf>e from 12 to C and V. 

Shape from P to R as shown by dotted line, and 
front part is finished. 



Bsvck PeiLrt 



Cut out front part and lay same on another paper. 
Square out lines P-N and V-U. 
Sweep forward from S, using point as a pivot. 
Sweep forward from 12, using point F as a pivot. 
Sweep back from 12, using point V as a pivot. 
Sweep back from C, using point V as a pivot. 
T to 9 is J^ in. variation for large seat. 
Place corner of square at 9, letting long arm of 
same rest on point C, and square up from 9. 

4 to X is same distance as T to 9. 

5 to 22 is 1/12 seat measure. 

22 to W is half the distance from T to 9. 
C to Z is llA in. 



Apply seat measure plus l}i in. from 8 to 15 
and 9 to Z. 

Apply waist measure in regular manner with 
same additions as shown, and take out a V in back 
part, as shown in illustration. 

to U is 1 in. 

R to N is 1 in. 

Shape back part as shown by solid line of illus- 
tration from Y to 1, 2 to X, and X to 9 and W. 

Shape from W to U and U to N. 

Shape from Y to Z, V and P. 

Shape from P to N and finish. 



112 



Small Hip, Kjiock Kjie^t Short Front, Large Seat 




Combinations of Variations 



Measures Used : 

Outside seam 40^4 in- Knee 18 in. 

Inside seam 31 in. Bottom 15j^ in. 

Waist 29 in. Definition of Types — Large hip, bow leg, long 

Seat 37 in. front, flat seat, small waist. 



To Draft 



Square out and down from A. 

A to B is outside length. 

B to C is inside length. 

D is half way between B and C. 

D to E is 2 in. 

Square out C, E and B. 

C to F is J^ seat measure. 

F to 6 is 3^ in. 

6 to S is 3^ seat measure. 

S to G is % in. 

H is h.alf way between C and G. 

Square up from H. 

From B to I is % seat measure. 

I to 16 is 1 in. for large hip. 

Rule a Hue from H to 16. 

16 to 18 is 1 in. for bow leg. 

Rule a line from M to 18. 

J to K and J to Q are each J4 waist measure. 

Rule a line from F to K. 

F to T is 1/6 seat measure. 



C to 15 is 1/6 seat measure. 

Rule a line from T to 15. 

T to 9 is J/2 in. for long front. 

Rule a line from 15 to 9. 

Square up from 13 as shown by dash line, find- 
ing point 10. 

10 to 5 and 10 to L are each 54 waist measure. 

Rule a line from 9 to 5. 

M to and M to V are each ^4 knee measure. 

18 to R and 18 to P are each % bottom measure. 

Shape front part as shown by dotted line from 
5 to S and 5 to 9 and G. 

Shape from L to C. 

Rule a line from to R. 

Rule a line from V to P. 

Shape as shown by dash line from S to 0. 

Shape from G to 0. 

Shape from C to V, and front part with variations 
stipulated is complete. 



Back Part 



Cut out front part and lay on another paper. 

Rule across from V to U, and P to N. 

Sweep forward from S, using point as a pivot. 

Sweep forward from L, using point F as a pivot. 

Sweep back from L, using point V as a pivot. 

Sweep back from C, using point V as a pivot. 

From T to 8 is 5^ in., amount of change for small 
seat. 

Lay corner of square at point 8, letting long arm 
of same rest on point C, and square up from 8. 

From 4 to X is same distance as from T to 8. 

S to 7 is 1/12 seat measure. 

From 7 to W is half the distance from T to 8. 



to U is 1 in. 

R to N is 1 in. 

C to Z is 1^ in. 

Apply seat measure plus \j/\ in. from 9 to 15 and 
T toZ. 

Apply waist measure in regular manner. 

Take out a V in back part, as shown in illustra- 
tion. 

Shape from Y to 1, 2 to X, X to S and W. 

Shape from W to U and N. 

Shape from Y to Z, V and P. 

Shape from P to N and finish as shown. 



114 



Large Hip, Bowleg, Long Front, Flat Seat, Small Waist 




J^nickers with Cuffs Jittached 

These knickers are drafted best from the regular 
measure of trousers, with a snug measure taken 
around the knee. 

The Following are the Meas\irements Used: 

Outside 41 J4 i"- Seat 17 

Inside 32 in. Knee 13 

Waist 32 in. Bottom of cuff 13 1/^ in 

To Draft 



in. 
in. 



Square out and down from A. 

A to C is 934 inches, being the distance between 



the outside and inside seam lengths. 

C to D is J/2 the actual length of the leg. 

D to E is 2y2 in. 

E to B is 3^ in. for cuffs. 

Square out from C, D, E and B. 

C to F is ^ of the seat measure plus J2 in. 

F to S is J^ of the seat measure. 

S to G is 1/24 of the seat measure. 

H is half way between G and C. 

Square up and down from H. 

J to K is ^ of the waist measure. 

Rule a line from F to K. 

K to P is y. in. 

Rule a line from P to J and out to L. 

J to L is J4 of the waist measure. 



Square up from J. 

Sweep back from L, using point N as the pivot. 

Square out from S. 

J to X is 1/6 of the seat measure. 

Rule a line from T to X. 

9 to Z is XYz in. 

I to 4 and I to 5 are each ^X in. more than one- 
third of the knee measure. 

M to U and M to V are each % in. more than 
one-third of the knee measure. 

Apply bottom measure of cuff across the front part 
and from 7 to 8 on back part and add to same 1 in. 



I to R is 1% in. 

Square down from R. 

M to N is ^ of the knee measure. 

C to 9 is >4 in. 

Shape from L to 9 and R and down to the 
bottom. 

R to O is one-third of the knee measure, 13 on 
the thirds. 

Square down from Q. 

N to O is i;'j of the knee measure. 

F to T is 1/6 of the seat measure. 

Shape from P to T and S, allowing J4 in- at T. 

Shape from P to T and G, reducing 54 i"- at T. 

Shape from S to O and Q down to the bottom. 

Shape from G to O. 

Place your front part on another paper and com- 
mence drafting. 

Back Part 

X to 2 is the waist measure plus 1 in. 

X to Y is the seat measure plus 1 in. 

Take out a V as indicated by 1 and 6, amounting 
to the distance between 2 and Y minus two seams. 

Shape back part from Y to Z, V, 5 and 8. 

S to W is 1/12 seat measure plus Yz in. 

Shape from Y to 6, 1 to X, X to T and T to W. 

Shape from W to U, 4 and 7. 

Shape from 8 to 7. 

The cuff closes with 4 buttons and holes. 

A button stand is allowed on the back part as 
indicated bv dotted line from 5 to 8. 



116 



Knickers with Cuffs Attached 




in 



li^lding Breeches 

Mea.sures as Follows: 



Rise 10 in. 

Waist 33 in. 

Seat 39 in. 

Length to knee 14^^ in. 

Length to small knee l"^^ in. 



Full length 26 in. 

Width of knee U% in. 

Width of small knee IZyz in. 

Width of calf Uy2 in. 

Width of bottom 10 in. 



Length to calf 2U 



'2 m. 



Square out and down from A. 

A to B is the rise, or 10 in. 

Square out from B. 

B to C is 3^ of seat measure. 

C to D is 1/12 of seat measure. 

D to E is 1/12 of seat measure. 

F is half way between D and B. 

C to N is >4 in. 

Place corner of square at F, letting short arm of 
same rest on N and square down as shown by dash 
lines in center of trousers. 

F to H is length to knee or 14>>4 in., plus 3^ in. 

F to I is the length to small knee or 17^/2 in. 

F to J is the length to calf or 21 J4 in. 

F to G is full length or 26 in. 

Square both ways from H. 

Square both ways from L 

Square both ways from J and G. 

H to O is J4 knee measure. 



Place the front part on another paper. 

Extend line at K. 

From K to X is 1/6 seat measure, plus J-4 in. 

Rule a line from D to X. 

E to 2 is ly in. 

Shape as indicated from X to 2. 

Extend the line from M, 

Apply waist measure plus 1 in. from L to M and 
X to W. 

Z to 10 is 2 in. 

Apply knee measure plus 1 in. from P to Q anil 
O to 4. 



To Draft 

I to R is 34 small knee measure. 

J to T is 34 calf measure and G to Y is 34 of 
ankle measure. 

Square up from F. 

K to L is 34 waist measure. 

K to M is 34 waist measure. 

Rule a line from D to L. 

Drop the front }^ in. at L and shape as indicated 
from L to E, E to Q, Q to R, R to T and T to Y. 

Take out a V of 34 in. at Q as shown in this illus- 
tration. 

H to P is I34 in- and G to V is 1 in. 

H to O is 334 in. 

Square back from O. 

B to Z is 134 in. 

Shape as indicated from M to Z, Z to P and P 
to V. 

Extend the waistband and place the split fall in 
the manner illustrated in the diagram and cut out the 
front part. 

BeiLck Pevrt 

Apply small knee measure plus 1 in. from S to 
R and R to 5. 

Apply calf measure plus 1 in. from U to T and 
T to 7. 

Take out a ^^ of 1 34 in. in the back at point G and 
apply ankle measure plus 134 in. from V to Y, Y to 
G and V to 8. 

Shape as indicated from W to 10, 10 to 4, 4 to 5, 
5 to 7 and 7 to 8. 

Cut off the back part from 4 to R in the manner 
indicated in this diagram and take out 1 in. at the 
center line. 

Extend the waistband and finish as represented. 



Riding Breeches 




119 



liiding Breeches 



The draft is produced from the following nieas- 
tirements : 

Rise 9>4 in. 

Inseam Z2 in. 

Waist 32 in. 



Seat H 

Knee 17 

Small knee 13>^ 

Calf 14 

Ankle 10 



m. 
in. 
in. 
in. 

in. 



To Draft 



Square out and down from A. 
A to C is the rise, or 9y2 in. 
C to E is 2 in. less than ^4 of the inseam measure, 
or 14 in. 

C to B is 2y2 in. less than the inseam measure. 
E to D is 3 in. 

is half way between B and D. 
Square out C, E, D, O and B. 

C to F is 1/ of the seat measure, plus 3-2 in. 
F to S is 3/^ of the seat measure. 
S to G is 1/24 of the seat measure. 
H is half way between G and C. 
Square up from H. 
B to I is same distance as C to H. 
Rule a line from H to I. 
J to K is % of the waist measure. 
K to Q is J<^ in. 

Rule a line from Q to J and out. 
J to L is 34 of the waist measure. 
Rule a line from F to K. 
F to T is 1/6 of the seat measure. 
17 to 22 is 34 of the knee measure. 
M to 12 and Al to 13 are each 34 of the small 
knee measure. 

Back 

Cut out the front part and place same on another 
paper. 

Square across at knee, small knee, calf and ankle. 

Square up from J. 

Sweep from S to W, using point 18 as the pivot. 

Sweep from L to Y, using point 20 as the pivot. 

J to X is 1/6 of the seat measure. 

S to W is 1/12 of the seat measure, plus 3^ in. 

Rule a line from T to X. 

Apply waist measure plus 1 in. from X to 2. 

Apply seat measure plus 1 in. from X to Y. 

Take out a V at 1 and 4 amounting to the dis- 
tance between 2 and Y minus two seams. 

17 to P is 2 in. M to U is % of an inch. 
M to V is J^ of an inch. 

1 to 7 and I to 8 are each 34 in. 
Points 7 and 8 are 34 in. above point I. 

Shape as indicated from P to 17, U to 28 and 7. 
Shape from P to V, 28 and 8. 

18 to 21 is 34 in. 



28 to 11 and 28 to 14 are each 34 of the calf 
measure. 

I to 5 and I to 6 are each 34 of the ankle meas- 
ure. 

M to 24 is 134 in. 

28 to 10 is 1 in. 

I to 9 is 3/1 in. 

17 to 20 is 1/6 of the knee measure. 

Shape from L to C, extending 34 in. at C, 20, 
24, 10 and 9. 

In order to have the outside run well toward the 
front, the front part is thus reduced, and while the 
average amount is given, the exact amount cut off 
from the fore part would vary a little, according to 
style ; whatever is taken off the front part must be 
added to the back part. 

Shape from to T and S, extending 14 i"- a-t T. 

Shape from Q to T and G, reducing 34 in. at T. 

Shape from S to 18, 12, 11 and 5. 

Shape from G to 18. 

Extend the waistband from L to K and the front 
part is completed. 

Part 

12 to 2i and 11 to 15 are each 1 in. 

5 to R is 134 in. 

Apply knee measure plus I34 in. from 18 to 20, 
21 and 27. 

Apply small knee measure plus I34 in. from 12 
to 24, 23 to U and V to 25. 

Apply the calf measure plus 134 in. from 11 to 
10, IS and 16. 

Apply ankle measure plus 13/ in. from 5 to 6, 
R to 7 and 8 to N. 

Shape side of back part from Y to Z, 27, 25, 
16 and N. 

Shape from Y to 4, 1 to X, X to T and T to W. 

Shape from W to 21, 23, 15 and R. 

Shape from N to 8 and 7 to R. 

Extend waistband to the top of breeches. 

The inside reinforcement extends from crotch 
down to calf, as shown in the diagram ; shape rein- 
forcement in a like manner and finish as shown. 



120 



Hiding Breeches 




121 



Spring Bottom Trousers 




All systematical points for this kind of trousers 
are obtained in the regular manner with the exception 
of the bottom. 



Suppose measures to be: 

Knee 17 m. 

Bottom 20 in. 



To Draft 



From I to 6 is 4^^ in. 

Square back and forth from 6. 

Extend y^ in. extra length to front part at 
point I. 

Make no other changes to front part from regu- 
lation. 

R to B is J/2 bottom measure. 



P to N is y2 bottom measure plus 1 in. 
R to 9, 2 to 3 and O to U are each 1 in. 
Shape as shown in illustration from V to 5 and B. 
Shape from U to 3 and N. 

Shape from B to I and N and finish as repre- 
sented. 



122 



Broad Falls and Split Falls 




I 




Broad Falls 

Broad fall trousers are cut the same 
as any other trousers, with the ex- 
ception that the fall-bearer is an ad- 
dition. 

The first diagram shows the broad 
fall pants, the solid line showing the 
fall-bearer. 

Six buttonholes are usual in the 
fall and as many buttons in the fall- 
bearer. 

The bearer is cut high enough to 
make up for the waistband. 

The opening in the side is two- 
thirds of the rise of the waist, or 
about 7 or 8 inches. 

Pockets are put in the bearer as 
indicated. 

On the back part which the dotted 
line indicates, a waistband must be 
added. 

Split Falls 

The lower diagram shows the older 
style or split fall. 

The width of the fall is one-sixth 
of the waist measure, and the open- 
ing is finished with a strap ^ inch 
wide, the end turned in so as to 
make it point as shown in the dia- 
gram. In other respects they are 
mafle like the broad falls. 



Over Gaiters and Leggings 
A C P ^ 




I 



Over-gaiters are sometimes cut as liigh as to the 
knee, but on an average 9 inches in height. 

We therefore give a diagram of the average, and 
by using the same method for the long gaiter it can 
so be produced : 

Mea.surements Used: 

Length 9 in. Ankle 11 in. 

Leg 12>< in. Instep 16 in. 

Calf 13 in. Bottom 23^ in. 

To Draft 

Draw a straight line from A to U. 

Square across from A. 

A to U is the length of the gaiter. 

U to C is 4 in. R is half way between U and C. 

C to B is 4 in. Square across at B, C and U. 

Square back from R. 

C to E is one-fourth of the ankle measure. 

Square up line from E to F and G. 

G to P is one-half the measure around the leg 
plus y> in. 

F to N is one-half the measure around the calf 
plus J^ in. 

E to K is one-half the measure around the ankle 
plus 3^ in. 

E to M is one-half of the instep measure plus 



y2 m. 

M to S is one-half of the bottom measure plu.s 
yi in. 

Shape as shown in the diagram from G, F, E 
and S, S to U, and M, and from P to N. K and M. 

Buttons should be placed in the middle of the line, 
and in order to obtain this, add to both hack and 
front Ti. in. from line A U. 

Put on heel straps at L' and finish as shown. 




Mea.su rements Used a-s Follows: 

Length 15 in. 

Knee 13 in. 

Calf 13K' i"- 

Ankle 11 in. 

To Dracft 

Rule a line from A to R. 

A to R is the length of the legging. 

A to B is 3,'/. in. R to C is 1% in. 

Square back and forth from A, B, C and R. 

A to P is one-half the knee measure plus Yi in. 

B to N is one-half the calf measure plus ^ in. 

C to K is one-half the ankle measure plus J^j in. 

Square down from K. 

Shape as indicated from P to X and K. 

A to O and R to L are each 2"^ in. 

Rule a line from L to O ; this is where you place 
the buttons. 

A to G and R to S are each 2^ in. 

Rule a line from G to S. L to U is 1 '4 in. 

Square up from U and make this the button stand. 

Shape as indicated from G to F and down to the 
bottom, extending one inch at S. 

Shape the button stand as indicated by extending 
one inch at U. 

Place buttons on the side as shown in this diagram 
and finish as shown. 



124 



MILITARY, 
LIVERY and 
SPORTING 
GARMENTS 



125 



Description of Garments for Officers of the Army 

Fvill Dress Coat 

For all officers, except Chaplains. — A double-breasted frock coat of dark blue cloth, with standing 
collar ; the skirt to extend from one-half to three-quarters the distance from the point of the hip to 
the l)end of the knee ; the lining to be black, with pockets on the inside of the skirt. 

For general officers the collar will be made of blue black velvet ; the sleeve will have a cuff of blue 
black velvet 4 inches wide. For other officers the collar will be made of the same material as the coat, 
and the cufTs will simply be a continuation of the material of the sleeves. 

SHOULDER ORNAMENTS.— For general officers, epaulets. 

For all other officers, shoulder knots of gold wire cord, to be securely fastened to the coat, and to 
be made detachable for all officers. 

COLLAR ORNAMENT. — The ornamentation of the collar for the General will be such as he may 
prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General. 

For other general officers the collar will be ornamented with a band of oak leaves embroidered in 
gold, and extending all the way around. 

For all other officers the ornament will consist of two bands of J/2 inch gold wire lace, two vel- 
lums, passing all around the collar and parallel with its edge, the upper edge of the upper band being 
y^ inch from the edge of the collar, the lower edge of the lower band resting on the collar seam. 
The upper band to be brought down parallel to the front edge of the collar and distant 34 inch there- 
from, and to be joined to the lower band. The two bands of gold wire lace to be on a ground of silk 
or cloth of the color of the facings of the corps, department or arm of the service, with an interval of 
not less than J4 inch nor more than V^ inch between the bands. 

SLEEVE ORNAMENT. — The ornamentation of the sleeve for the Generals will be such as he 
may prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General. 

For other general officers the velvet cuff of the sleeve will be ornamented with a band of oak 
leaves embroidered in gold passing around the cuff ; the top of the band of oak leaves to be 1 inch 
below the upper edge of the velvet cuff; to be surmounted by two stars for a major general and one 
star for a brigadier general, embroidered in silver, each star to have one point up and placed above the 
velvet cuff. 

For general officers of the staff departments, except the General Staff' Corps, the proper insignia 
will be placed 1 inch above the velvet cuff, and the stars, as before, 1 inch above the insignia. 

For all other officers the sleeve will be ornamented with a band of Yi inch gold wire lace, two 
vellums, passing around the cuff 2^-2 inches from the end of the sleeve ; to be surmounted by the insignia 
of rank, indicated by flat gold wire lace Y^ inch in width. The insignia of the corps, department or 
arm of service, in gold or silver metal or embroidery will be placed in the center of the open space 
under the lace insignia. 

BUTTONS. — Two regulation gilt buttons will be placed at the back of the waist, and one regulation 
gilt button near the end of each skirt, making four buttons on the back of the coat, for all officers. 

Three small regulation gilt buttons will be placed on the cuff at sleeve for general officers only. 

For officers of the various grades regulation gilt buttons will be placed on the breast of the coat as 
follows : 

GENERAL. — Two rows, twelve in each row, placed bv fours, the distance between rows being from 
8 to 10 inches at the top and from 4 to 5 inches at the bottom ; rows and groups to be symmet- 
rically disposed. 

121) 



U. S. Army Uniforms 






i 



LINE OFFICER'S FULL DRESS 
DISMOUNTED 



SOCIAL DRESS UNIFORM 



127 



U. S. Jirmy Uniforms 



LIEUTENANT GENERAL. — The same as for the General, except that there will be ten buttons 
in each row, the upper and lower groups by three and the middle groups by fours. 

MAJOR GENERAL. — The same as for the General, except that there will be nine buttons in each 
row, placed by threes. 

BRIGADIER GENERAL.— The same as for the General, except that there will be eight buttons in 
each row, placed in pairs. 

COLONEL, LIEUTENANT COLONEL AND MAJOR.— The same as for the General, except 
that there will be nine buttons in each row, buttons at equal intervals. 

CAPTAIN, FIRST LIEUTENANT, SECOND LIEUTENANT AND ADDITIONAL SECOND 
LIEUTENANT. — The same as for a Colonel, except that there will be seven buttons in each row. 

FOR THE CHIEF OF ENGINEERS.— The same as that of general ofificers, with the following 
exceptions : 

Piping: A piping of scarlet velvet >^ inch wide, to be placed along the upper and outer edges of 
the lapels, continuing down the edges of the skirt to the bottom, and from top of back flaps in middle 
of back to bottom of skirt. 

Skirt Facings: To be of scarlet velvet with one row of Yz inch gold two-line vellum thread lace 
placed upon white braid, showing 3-32 inch of braid on each side, }4 inch from the outer edge of the 
scarlet velvet, following the vertical and horizontal lines, with a regulation gilt button placed in the lower 
corner of the scarlet velvet just inside the gold lace. 

For all other officers of the Corps of Engineers. — The same as for other officers, with the following 
exceptions : 

Piping: A piping of scarlet cloth yi inch wide, to be placed around the base of neck, the edge 
of collar lace along top, and down the front edge of lapel, stopping at the bottom, and from top of 
back flap in the middle of the back to the bottom of skirt. 

Skirt Facings: To be of scarlet cloth with one row of J/' inch gold wire two-vellum lace placed 
upon white braid, showing 3-32 inch of braid on each side, ^4 inch from the outer edge of the scarlet 
cloth, following the vertical and horizontal lines, with a regulation gilt button placed in the lower corner 
of the scarlet cloth just inside the gold lace. 

For Chaplains. — A black frock coat, without ornamentation, with standing collar, one row of nine 
black silk buttons on the breast. Of same length as for other officers. 

Dress Coat 

For general officers. — A sack coat of dark blue cloth or serge; three small regulation gilt buttons 
will be placed on the cufT at sleeve ; high rolling collar ; double breasted, with two rows of regulation gilt 
buttons grouped according to rank, as on the full dress coat ; the skirt to extend one-third the distance 
from the point of the hip to the bend of the knee. A slit extending from 2 inches above to 2 inches 
below the hip, so as to permit of hooking up of saber. A shoulder strap will be placed on each shoul- 
der, adjacent to the seam, and collar ornaments on the collar. Inside pockets. 

For all other officers. — A single-breasted sack coat of dark blue cloth or serge, with standing collar 
fastened with two hooks and eyes ; coat to close with flap containing suitable concealed fastenings ; slit 
not exceeding 3 inches for hooking up saber ; the skirt to extend from one-third to two-thirds the distance 
from the point of the hip to the bend of the knee, according to the height of the wearer : cut to fit the 
figure easily; a vertical opening at each side of the hip, according to pattern. The coat to be trimmed 
with lustrous flat black mohair braid 1^4 inches wide, as follows: Edged all around the bottom, the 
front edges, the collar, and for 6 inches upward from the bottom along both side openings of the skirt. 

Shoulder straps and collar ornaments will be worn with this garment. 

Service Coat 

For all officers. — A single-breasted sack coat of olive drab woollen material or khaki-colored cotton 
material, made with two outside breast choked-bellows pockets and two outside pockets of same pat- 
tern below the waist ; pockets to be without plaits and covered by flaps, rounded at edges, buttoned by 

128 



U. S. Army Uniforms 





FIELD OFFICER— MOUNTED 



GENERAL OFFICER'S UNIFORM 



129 



a small regulation button. The coat to have falling collar, from 1 to 1;54 inches in width, depending 
on the wearer. On each shoulder a loop of the same material as the coat let in at shoulder seam and 
reaching from the sleeve seam to the edge of the collar, and buttoning at the upper end with a small 
regulation button; loops to be 2 inches wide at the shoulder end and 1 inch wide at the collar end. The 
coat to fit closely at the waist and loosely at the chest, at least 5 inches in excess of the chest measure- 
ment ; buttoned down the front with five regulation buttons. The skirt to extend one-third the dis- 
tance from the point of the hip to the bend of the knee. Sleeves to be without cufTs. All buttons for 
this coat to be of dull finish bronze metal. 

Collar ornaments will be worn with this garment. The insignia of rank will be placed on the 
shoulder loop, near the sleeve seam. Chaplains will wear a plain Latin cross of dull finish bronze metal 
in lieu of the insignia of rank. 

Officers of the General Staff Corps, except the Chief of Staff, will wear a band of black braid i/S 
inch wide on the sleeve of the service coat, the lower edge of the braid 3 inches from the end of the 
sleeve. 

White Coa.t 

For all officers. — A single-breasted sack coat of white material, with standing collar fastened with 
two hooks and eyes, white metal ; coat to close with a flap containing suitable concealed fastenings. The 
skirt to extend from one-third to two-thirds the distance from the point of the hip to the bend of the 
knee, according to the height of the wearer ; cut to fit the figure easily ; a vertical opening at each 
side of the hip, according to pattern. The coat to be trimmed with white flat braid 1J4 inches wide, as 
follows : Edged all around the bottom, the front edges, the collar, and for 6 inches upward from the 
bottom along both side openings of the skirt. White shoulder loops of the same material as the coat, 
let in at shoulder seams, and of the pattern prescribed for the service coat. 

Insignia on the collar to be the same as prescribed for the dress coat ; insignia of rank to be placed 
on the shoulder loop, as prescribed for the service coat. 

OvercoBLt 

For all officers. — A double-breasted ulster of olive drab woolen material, suitably lined, and closing 
by means of five large buttons 45 lines diameter; a standing rolling collar, the "stand" to be not less 
than }i nor more than lj4 inches, and the turn down (falling) part not less than 4 nor more than 5 
inches in width. Collar in front to be closed by two hooks and eyes; a flap of same material as the 
coat, 5 inches in length and 2 inches in width, provided with one buttonhole at each end, made de- 
tachable, so as to close the falling part of the collar when worn closed. 

A pocket on each side, placed vertically, lower end of pocket 2 inches below the hip bone, extending 
from 8 to 10 inches upward. Over the pockets a flap of same length, rounded at edges and closed by 
a small button at middle of flaps. Slits of pockets to be cut through linings, thus permitting the slings 
to come through left pocket hole for hooking up of saber. The back to be slit up from the bottom 
20 to 25 inches and closed by small buttons under concealed flap, the latter buttoning from right to left. 

Coats to extend down the legs from 8 to 10 inches below the knee, according to the height of the 
wearer. Sleeves loose, without cuffs or slit. Back straps placed at waist line, let in at the side seams, 
and to button together by two large buttons. 

A hood of same material as coat, lined with suitable material of same color; made to button around 
the neck under the collar by means of five small buttons. Hood to be large enough to cover the head 
and cap. When in garrison the hood will ordinarily be worn only at night or in inclement weather. 
Under arms, only when prescribed by the commanding officer. 

All buttons to be of horn, conforming in color to the material of the coat. 

The front corners of the skirt to be provided with buttons or hooks, so that said corners may be 
turned back when it is necessary to facilitate marching. 

Insignia on Sleeve. — Sleeve insignia of rank as prescribed : in addition thereto the insignia of corps. 



U. S. Army Uniforms 





MILITARY OVERCOAT 



MILITARY CAPE 



131 



department, or arm of service, of diill finish bronze metal, will be placed in the middle of the lower 
loop 13^ inches above the end of the sleeve. 

For general officers the insignia will consist of a band of lustrous black mohair braid, 1,'4 inches wide, 
placed with its lower edge 2^ inches above end of sleeve ; surmounted by the proper number of stars, 1 
inch in diameter, of dull finish bronze metal, placed % inch above the braid ; the stars to be surmounted 
by a band of lustrous black mohair braid 3^ inch wide, 34 inch above the stars. 

Overcoats for chaplains to be without insignia of rank. 

Officers of the General Stafif Corps, except general officers, will wear a band of black mohair braid 
% inches wide on the sleeve, the lower edge of braid to be l^A inches above the end of the sleeve, the 
lower ends of the prescribed insignia of rank to rest upon the upper edge of this band. 

Cacpes 

For all officers. — To be of dark blue cloth without braid binding, reaching at least to the tips of the 
fingers with the arm dropped at the side, and not below the knee ; with a rolling collar of black velvet 
3 inches broad, and closing at the throat with a long loop. It may be worn by all officers when not 
on duty with troops under arms. To be lined as follows : 

For general officers and officers of the Staff Corps and departments. — Dark blue. 

For officers of infantry. — Light blue. For officers of artillery. — Scarlet. 

For officers of cavalry. — Yellow. 

Full Dress Trousers 

For general officers. — Of dark blue cloth, with two stripes of gold wire lace 3^ inch wide with 34 
inch interval between them, mounted upon light weight velvet of color of cuffs and collar of coat and 
placed along the outside seam of the trousers. In the case of the Chief of Engineers the interval between 
the two stripes shall be scarlet velvet. 

For officers holding permanent appointments in the Staff Corps and departments, except Engineers. — 
Of dark blue cloth, with one stripe of gold wire lace Y^ inch wide along each outside seam. 

For officers of cavalry, artillery and infantry. — C)f sky blue cloth with stripes 13^ inches wide, welted 
at the edges ; the color of the stripes to be that of the facings of the respective corps or arms, except that 
for officers of infantry the stripes shall be white. 

For all officers of the Corps of Engineers. — Of dark blue cloth, with stripes of scarlet cloth 13/$ inches 
in width, with a piping of white cloth 34 inch in width. 

For chaplains. — Of plain black or blue black cloth, without stripe, welt or cord. 

Dress Trousers 

For general officers, officers holding permanent appointments in the Staff Corps and departments, ex- 
cept Engineers. — Of dark blue cloth without stripe, welt or cord, except that for the Chief of Artillery the 
trousers shall be of light blue cloth with the addition of a stripe of scarlet cloth I3X inches wide. 

For all other officers. — The same as for full dress. 

White Trovisers 

For all officers. — Of plain white material to match the white coat, without stripe, welt or cord. 

Service Trousers 

For all officers. — Of olive drab, woolen, or khaki-colored cotton material, to match the coat, without 
stripe, welt or cord. 

Dress Breeches 

For all officers. — Of same material and with same stripes as dress trousers, cut in the prescribed 
pattern and fastened from the knee down with dark bone buttons of appropriate size or with laces. 

Service Breeches 

For all officers. — Of olive drab woolen or khaki-colored cotton material, to match the service coat, 

132 



U. S. Army Uniforms 





\: 



DRESS UNIFORM 



SUMMER UNIFORM 



133 



without stripe, welt or cord. To be made loose about the seat and above the knees ; to fit closely below 
the knee, extending to the tops of the shoes, and to be fastened with tapes or laces or buttons. . To 
have a re-enforced or saddle piece of the same material on the seat and legs for officers required to be 
mounted. 

Uniform for Evening Wear 

The commanding officer will designate the uniform for evening wear on all occasions of a general 
or official character occurring within the limits of his command. 

For occasions of special formality, the uniform for evening functions shall be the prescribed full 
dress dismounted uniform. 

For other occasions of ceremony to which officers are invited in their official capacity, such as balls, 
official dinners, official receptions, etc., and formal mess dinners, the following special full dress uniform 
is authorized, and officers are at liberty to wear it or the full dress dismounted uniform : 

An evening dress coat of dark blue cloth cut on the lines of the civilian dress coat, with the gilt but- 
tons of the same number and place as regulation requires ; the sleeves of this coat to be ornamented for 
all officers in the same manner as the sleeves of their full dress uniform coats. 

A waistcoat of dark blue or white, cut low with full open bosom, three small gilt regulation but- 
tons, should be worn with this coat; also full dress trousers by all officers except those of engineers, 
cavalry, artillery and infantry, who will wear dark blue trousers without stripes, patent leather shoes and 
full dress cap. Shoulder ornaments for general officers will be epaulets or shoulder knots ; for other 
officers, except chaplains, shoulder knots. On proper occasions which are not official in character, officers 
are authorized to wear civilian evening dress. 

Mess Jacket 

Officers of the staff corps and departments, the corps of artillery and the regiments of cavalry and 
infantry are authorized to adopt a "mess jacket" distinctive of their corps, department or regiment. 

To be made of dark blue cloth. Body of jacket to be cut like evening dress coat, to descend to point 
of hips, slightly curved to a peak behind and in front; five buttonholes on lapels, three buttons of regu- 
lation coat size on each side, placed IJ^ inches from bottom, and spaced 2 to 3j^ inches apart. Sleeves 
to be ornamented same as full dress coat. Such further distinctive ornamentation of this jacket as may 
be desired by the organizations named is authorized, but when once adopted the "mess jacket" for any 
particular organization shall not be changed without authority of the Secretary of War on the recom- 
mendation of a majority of the officers interested. 

With this jacket will be worn the detachable shoulder knot provided for full dress coat; also vests 
of the color of the coat or white. 

Commanding officers may in the tropics or in the warm season authorize the white trousers to be 
worn with this jacket. 

Black shoes will always be worn with this jacket. 

Professors and associate professors of the United States Military Academy holding permanent ap- 
pointments as such, will wear the full dress and dress uniforms of officers of the Military Secretary's 
Department, omitting the aiguillettes. 

DESCRIPTION OF GARMENTS AND OTHER ARTICLES OF 
UNIFORM FOR ENLISTED MEN OF THE ARMY 

Dress Coat 

A single-breasted sack coat of dark blue cloth, fastened with six regulation buttons down the front ; 
standing collar ; shoulder loops, of the same material and color, let in at the shoulder seam and to but- 
ton to the collar with a small regulation button ; the sleeves to have a cuiT, ornamented with three small 
regulation buttons. The collar, shoulder loops and cufifs to be piped with "cord edge braid" of the color 
of corps, department or arm of service. The color of the braid for Engineers, Ordnance, Hospital Corps 
and Signal Corps to be mixed in alternate stripes. 



U. S. Army Uniforms 





CHAPLAIN 



KNIGHT TEMPLAR UNIFORM 



J 35 



Collar ornaments for enlisted men, of _vellow material similar to those for officers, will be placed on 
this coat in the same manner as on the dress coat of the officers. 

Musicians and trumpeters will wear the insignia of regiment or corps on their coat collars. Band 
musicians a lyre, same as worn on cap. 

Breast Cord 

Cords and tassels of mohair of the color of the corps, department or arm of the service, to be at- 
tached to the dress coat, beginning at the button of the left shoulder loop, one cord passing in rear of the 
neck and the other in front, under the first button of the coat, crossing under the right shoulder loop 
and brought together under the right arm with a slide, then passing across the breast between the third 
and fourth buttons and attached to the left shoulder button. 

Service Coat 

A sack coat of olive drab woolen material or khaki-colored cotton material conforming in design and 
cut to the service coat for officers. The same collar ornaments will be placed on this coat as on the 
dress coat, except that all buttons and metal ornaments will be of dull finish bronze metal. 

White Coat 

A sack coat of bleached cotton duck. Collar ornaments to be the same as prescribed for the dress 
coat. 

Fatigue Coat 

For ail enlisted men. — Of brown cotton duck. 

Overcoats 

For all enlisted men. — Of olive drab woolen material, general design and cut to be that of the officers' 
overcoat, the buttons to be of dull finish bronze metal. 

Dress Trousers 

For all enlisted men. — (_)f sky blue kersey. 

Stripes for Trousers 

Stripes to be of cloth of the following colors : 

Cavalry. — Yellow. ( )rdnance. — Black, piped with scarlet. 

Artillery. — Scarlet. Post Quartermaster Sergeants. — Buff. 

Infantry. — White. Post Commissary Sergeants. — Cadet gray. 

Engineers. — Scarlet, piped with white. Hospital Corps. — Orange, piped with white. 

Army service detachment of the United States Military Academy, West Point, N. Y. — Buft'. 
All noncommissioned officers above the rank of corporal will wear stripes 1>4 inches in width, in- 
cluding pipings. All corporals will wear stripes ^^ inch wide, including pipings. 
Musicians and trumpeters will wear two stripes, each ;/ inch wide. 

White Trousers 

Of bleached ciittun duck, without stripes. 

Canvas Fatigue Trousers 

Of brown cotton duck, without stripes. 

Service Breeches 

of olive drab woolen or khaki-colored cotton material, to match the service coat. To be worn with- 
out stripes; to be made loose above the knee, fitting closely below the knee, extending to the tops of 
the shoes, and fastened with tapes or laces ; to be worn with shoes and leggings. 

For mounted use, to have a reinforced or saddle piece of the same material on seat and legs. The 
general design of the breeches will conform to the pattern prescribed for officers. 




DIAGRAMS for 
UNIFORMS. 
LIVERY and 
SPORTING 
COSTUMES 



137 



Frock Uniform for U. S, Army Officers, Mounted and 

Unmounted 

Proportionate draft subject to height, variations Measurements as Follows: 

and supplementary measurements. Note that in mih- Natural waist 1/ ni. 

, , X I „ Fashionable waist I8J/2 in. 

tary garments proportion is ciianged so as to make -r- ,, , 1 ii ■ 

^ ^ ^ _ Full length ii in. 

blade K' 'i- smaller, and waist measure is 1 in. less Breast " 36 in. 

than proportion, which would be preferable in all Waist 31 in. 

military garments. Seat 57 in. 

To Draft 

Square out and down from A. Shape as shown in illustration from A to R, R to 

A to V is 1/3 breast measure. 11, 11 to 23, 23 to 8 and down. 

V to B is 3 in. . L to M is 2 in. 

A to C is natural waist length. M to 4 is >^ waist measure. 

A to D is fashionable waist length. 4 to U is waist suppression, divided in three eqiml 

A to E is full length of coat. parts, as Figures 4, 2 and 3 indicate. 

Square out B, C, D and E. 8 to 7 is 2/3 waist suppression, or same distance 

B to F is 1/3 breast measure. as 2 to U. 

F to H is 1 in. 7 to 6 is >4 waist measure. • 

B to S is ^ breast measure. 6 to 5 is 1/3 waist suppression, or same distance 

S to G is 3 in. as 4 to 2. 

G to W is l/'6 breast measure. 24 to 10 is ■)4 in. 

B to N is breast measure. Point 20 is ^ in. below fashionable waist line. 

N to I is 2j4 in. Point 21 is 3/2 in. below fashionable waist line. 

Square up and down from I. _ Square down from 24. 

Square up from W. R"le a line from G to 23. 

Square up and down from G. 23 to 13 is 3/s in. 

Square up from H. Shape as shown in illustration from 13 to 7 and 

Sweep back from point 1 to X, using point G as down to 10. 

a pivot. Shape as shown in illustration from S to 6 and 20. 

1 to X is yi in. Shape from S to 5 and 21. 

A to T is 1/6 breast measure. Shape bottom of side body from 24 to 20. 

T to R is ^ in. Shape bottom of front part from 21 to 35. 

Rule a line from W to R. X to Y is same distance as R to 11 minus 3/s in. 

Square back from point K. finding ])oint Z. Q to P is 1/6 breast measure. 

Rule a line from X to Z. Shape armhole as shown in illustration from Y 

Square out from X by balance line. to 13. 

X to Q is 1/6 breast measure. Shape shoulder from Y to X. 

L to is J4 waist measure. Shape neckhole from X to P. 

Shape as shown in illustration from O to I, and Shape front as shown in illustration from P to 22 

down as dotted lines. and down to 9. 

22 to 9 is 1/6 breast measure plus jA in. Take out V stipulated between 27 and 35. 

Square back from 9. From 33 to 30 is same distance as 33 to P. 

9 to 27 is 334 in. Shape as shown in illustration from 30 to 31. 

27 to 35 is same distance as 9 to 34. 30 to 28 is 4 in. 

C to U is y2 in. 26 to 25 is 3}i in. 

Square down from U and rule a line from \' to U. Rule a line from 28 to 25. 

U to 8 is 1/6 breast measure. Shape bottom of lapel as shown in illustration, and 

Square down from 8. place buttons and l)uttonholes as shown. 

K to 23 is 1/6 breast measure. Lav up a standing collar in connection with this 

K to 11 is J/2 in. diagram as per illustration, and be sure it is in length 

Add }i in. to top of back at point A. the same distance as from A to R and X to P. 

138 



Frock Uniform for U, S. Jlrmy Officers^ Mounted and 

Unmounted 




Skirt 



10 to 14 is 1/3 seat measure. 
14 to 15 is 1/12 seat measure. 
10 to 12 is same distance as 24 to 20, 21 to 35, 
and 27 to 25. 

Square down from 12 bv fashionable waist line. 



From 10 to 17 is same distance as from D to E. 

12 to 29 is same distance as from 10 to 17 minus 
1 in. 

Shape top of skirt, front and bottom, as well as 
back of same, and finish as shown. 



139 



Military Blouse 



Measures as Follows: 



Waist length 17 in. 

To seat 23)^ in. 

Full length 29 in. 



Breast 36 in. 

Waist 31 in. 

Seat 2)7 in. 



To Draft 



Square out and down from A. 

A to \' is 1/3 breast measure. 

V to B is 3 in. 

A to C is natural waist length. 

A to D is length to seat. 

A to E is full length of coat. 

Square out from B, C, D and E. 

B to F is 1/3 breast measure, 

F to H is 1 in. 

B to S is 3^2 breast measure. 

S to G is 3 in. 

G to W is 1/6 breast measure. 

B to N is breast measure. 

N to I is 2^4 in. 

Square up from W. 

Square up and down from G. 

Square up from H. 

A to T is 1/6 breast measure. 

T to R is J4 in- 
Rule a line from W to R. 
Square back from K, finding point Z. 
Sweep back from point 1, using point G as a pivot. 
1 to X is i^ in. 

Square out from X by balance line. 
X to O is 1/6 breast measure. 
L to is 54 waist measure. 
Square down from 0. 

Shape as shown in illustration from O to I and 0. 
Rule a line from X to Z. 
K to 24 is K' i"- 

Shape as shown in illustration from A to R, R to 
24 and out. 

24 to 11 is ^ in. 

X to 20 is same distance as R to 11. 

20 to Y is same distance as K to 24. 

Rule a line from X to Y. 

K to 23 is 1/6 breast measure. 



Rule a line from B to 23. 

C to 21 is 1 in. 

Square down from 21. 

Rule a line from Z to 21. 

21 to 4 is 34 waist measure. 

14 to 10 is ]/4 seat measure. 

Shape as shown in illustration from 11 to 23, 23 
to 4 and 10 and down to 5. 

O to P is 1/6 breast measure. 

Rule a line from J to P. 

Shape as shown in illustration from X to P. 

Shape shoulder from Y to X. 

Shape armhole as shown in illustration from Y 
to 23. 

L to M is 2 in. 

S to 19 is % in. 

M to 7 is yi waist measure. 

7 to 21 is waist suppression, which is divided into 
two equal parts, as Figures 7 and 2 indicate. 

From 4 to 3 is 3^ waist suppression, or same dis- 
tance as 2 to 21. 

From M to 8 is J/j waist suppression, or same dis- 
tance as from 2 to 7. 

Apply seat measure on 2/3 of divisions plus IjX 
in. from 10 to 14 and U to 12. 

Shape as shown in illustration from 23 to 3 and 12, 
from 19 to M and 17, and from 19, 8 to 18. 

Sweep back from point 5, using 23 as a pivot. 

Sweep forward from 6, using point X as a pivot. 

Shape as shown in illustration from 6 to 17 and 18 
to 16. 

Lay up standing collar l}^ in. wide, as shown in 
illustration. 

Dotted line in front of blouse ndicates button 
stand. 

Dot and dash line illustrating peak lapel and cut- 
away front shows front of mess jacket. 



Mess Jacket 



Take out V of Ij/^ in. from P to 15. 

From 15 to 13 is ZjA in. 

From to 21 is 3^4 in. 

Crease line is shown bv dot and dash line. 



Shape lapel and front from 15 to 13, and 13 to 21. 
Cut away as shown by dash line, and mess jacket 
is finished. 



140 



Military Blouse 

Mess Jacket 




Military Overcoat — U. J. Army 

Measures as Follows : 

Waist length 18 in. Waist 36 in. 

To seat 25 in. Seat 41 in. 

Full length 47 in. Excess of 4 sizes of circumference allowed for 

Breast 40 in. exaggeration. 



To DraLft 



All systematical points are obtained in same man- 
ner as in double-breasted box overcoat, with the ex- 
ception of collar and V taken out in front. 

Square up and down from I. 

30 to 20 is same distance as from P to 30. 

to 15 is 4 in. 



16 to 19 is 4 in. 
Square out from 30. 
20 to 21 is 3^ in. 

Shape front as shown in illustration from 21 to 
13, 15 and 19. 



CoUacr 



28 to 27 is 1 in. 

Shape as shown in illustration from 27 to P. 

From P to 26 is same distance as A to R and 
X to P. 

Width of collar stand from P to 22 and 26 to 25 
is 13^ in. 

Shape as shown in illustration from 27 to 23, and 
allow J4 in. for seam on upper part of collar so as to 
have seam come on inside. 



Make width of collar from 2i to 24 4 in., and 
same width in back. 

Shape collar all around as per illustration. 

Place pockets as shown in this illustration, with 
flaps and buttons. 

Place belt on back with two buttons and finish 
as shown. 



142 



Military Overcoat — U. J. Army 




General Officer's Dress Uniform 



Measures Used as Follows: 

Waist length 17^ in. Breast 38 in. 

Waist 33 in. 

.29 in. Seat 39 in. 



Length to seat 23^ in 



Full length 



To Draft 



All systematical points are obtained in the same 
manner as for regular military blouse. 

The difference between this garment and the 
military blouse is that this is double breasted, and 
front is obtained in the following manner : 

O to 25 is 1/6 breast measure. 

Place corner of square at 25, level same with 
point and square up. 



Square across from P by line W-1. 
21 to 15 is same distance as P to 21. 
15 to 13 is 4 in. 
25 to 26 is 3 in. 

Square down from waist line through 26 and rule 
a line from 13 to 26. 



Collar 

From P to 27 is same distance as A to R and 
X to P. 

Shape as shown in illustration from 27 to P. 
27 to 28 is 154 in. 
Shape from 28 to P. 



27 to 29 is 3 in. 
P to 30 is 3 in. 

Shape as shown in illustration from 28 to 27, 27 
to 29, 29 to 30 and 30 to P, and finish as shown. 



Ui 



General Officer's Dress Uniform 




Circular and Military Capes 



111 view of the fact that it is often required tiiat 
the cape fall to a certain position on the hand or arm, 
it is advisable to take measurements from the neck over 



the shoulder and down to side, as well as back length 
from back of neck down, and front length from throat 
down. 



The Draft was Produced from the Following Measures i 



Breast 36 in. 

Back length 26 in. 



From neck over shoulder and down at side. . .ZSyi in. 
Front length 26 in. 



To Dratft 



Square out and down from A. 

Square up from A. 

A to C is 1/6 breast measure. 

B to F is y2 breast measure. 

F to G is 3^ in. 

G to W is 1/6 breast measure. 

Rule a line from H to W and down. 

A to T is 1/6 breast measure. 

Square up from T. 

T to R is ^ in. 

Square out line H-O by line H-W. 

H to M is 1/6 breast measure. 

Rule a line from E to M. 

Shape neckhole from A to R. R to M and out. 



A to H is 1/6 breast measure. 

C to B is 1/3 breast measure. 

Square out from C and B. 

M to N is 1/3 breast measure. 

N to P is 1^4 in. 

Rule a line from H to P. 

Square down from P. 

Apply back length from A to D. 

Apply side length from R to J. 

Apply front length from M to O and shape as 
shown by solid line from D to J and S. 

Shape from X to P and S and circular cape is 
completed. 



Milita.ry Ca.pe 



Is produced from same pattern by cutting it open 
from R to E and plait as shown by illustration from E 
to J and U, leaving opening as shown by dotted lines 
from R to K, reducing width at bottom and front. 
Dot and dash lines illustrate military cape, as shown 
by points A, R, E, K, L, V, U and D. 

It will be noticed that cutting a cape is a very 
simple matter. They must be properly balanced to 
allow the fulness to fall in graceful folds. All of these 
garments are to be made before the collar is put on. 
Neck being on the bias of the cloth necessitates that a 



tape shall be basted on the neck to remain there until 
the cape is ready for the collar. Capes lend themselves 
to various styles and lengths, the accompanying drafts 
forming the groundwork. These are intended for style 
of opening through or facing with fly or without but- 
ton stand. Some are made with lapels and collars to 
turn down and others in military style as shown in 
illustration in regular cape. Any style of collar de- 
sired can be attached to these capes for the reason 
that the neckhole of the cape is the same shape as 
regular coat. 



146 



Circular and Military Capes 




147 



Capes 

Regular Cape 



Cape is cut with seams over the sliuulders and 
measures used for illustration are as follows : 



Back length 32 in. 

Breast measure 36 in. 



Square out and down from A. 

A to C is 1/6 breast measure. 

A to E is full length of cape. 

A to T is 1/6 breast measiu'e. 

T to R is }i in. 

Square out from C. 

C to F is J<2 breast measure. 

F to G is 2 in. 

Square down from F. 

F to H is % breast measure. 

Front Part 

C to Z is % in. 
C to B is 1/3 breast measure. 
B to D is 1% in. 
Rule a line from A to D. 
Square down from D. 
E to M is 3 in. 

Shape as shown in illustration from R to S, S to 
I) and down to L and from L to K. 
S to is 1'^ in. 
L to N is iy2 in. 
Shape button stand as shown by dash line. 



To Draft 
Back Part 

Square out from H. 

H to I is ;^ breast measure. 

Rule a line from R to G. 

Rule a line from G to I and down. 

Sweep forward from point E, using point R as a 
pivot, finding" point J. 

J to K is 3 in. 

Shape as shown in illustration from .A. to R and 
R to G. 

Shape from G to I and K and shape from E to K. 

Collar 

S to 3 is same distance as A to R and R to S. 



From i to 2 IS \}{[ in. 

Shape as shown in illustration from S to 3 and S 



to 



From 3 to 4 is 4 in. 
From S to 5 is 4 in. 

Shape as shown in illustration from 2 to 3, 3 to 
4. 5 to 4, and S to 5 and finish. 



Clerical Chaplain^ and I^night Templar Coat 




In the production of the Clerical, Chaplain and 
Knight Templar coats the same diagrams are used, 
for the reason that in the production of patterns they 



are exactly the same, while they differ in front as re- 
Sfards buttons. 



Measurements as Follows: 

Natural waist 17 in. ner as for regular frock coat. The only difference is 

Fashionable waist 18>1 in. that' these garments have straight front and button up 

Full length 40 m. ^^ ^^^^ throat in military style, and have standing col- 
lar. There is no other difference in drafting, but for 

Waist 22 in. 

T_ . other details see fashion illustrations pertaining to 

Seat 3/ HI. ^ '^ 

All systematical points are obtained in same man- same. 



l.iO 



Regular Capes 




Clerical and I^night Templar Coat 




CLERICAL AND KNIGHT TEMPLAR. 



Single and Double Breasted Coachman's Coat 





Natural waist 

Fashionable waist 19 in. 

Full length for under coat 7)7 in. 

Full length of overcoat 44 in. 



MeaLSuremervts a.s Follows. 

17 in. Breast 38 in. 



Waist 
Seat . 



.34 in. 
.39 in. 



To Dracft 



All systematical points are obtained in the same 
manner as for regular frock coat, subject to height, 
variations and measurements according to stipulations 
in diagrams illustrating same. 

For single-breasted coat note dash lines in front. 

Extend a button stand from I .out to dash line of 
1J4 in-, and same amount from 22 ^to dash line. 

Shape as shown by dash line 

This single-breasted coat has a regular coat collar, 
as will be seen by illustration. 

For double-breasted coat follow instructions for 
double-breasted frock. 

From 26 to 27 is 3 in. 

28 to 29 is 4 in. 



From 9 to 12 is 3 in. 

Shape lapel and skirt as shown by solid lines. 

Collar has turn down efifect, produced as follows : 

P to 2)2) is same distance as A to R and X to P. 

33 to 34 is 1'4 in. 

Shape as shown in illustration from 22 to P and 
34 to P. 

33 to 22 is 3J/' in. 

P to 31 is 3>4 in. 

Shape as shown in illustration from 34 to 33 and 
22 and from 32 to 31, and P to 31. 

In all other details patterns for these garments 
are produced in the same manner as for regulation 
frock coats. 



152 



Single and Double Breasted Coachman' s Coat 




153 



Footman s Coat 





I / 



Mea-surements as Follows; 



Natural waist 17 in. 

Fashionable waist 18^ in. 

Length i7 in- 



Breast 36 ni. 

Waist 32 in. 

Seat 2)7 in. 



To Dra.ft 



All systematical points are obtained in the same 
manner as for regular frock coat, subject to height, 
variations and measurements as shown ni illustrations 
regulating same. 

While the edges meet there is no button stand 
extended to front, and this garment is closely on the 
military style. 

It has a side edge at the back fold, and this 
side edge should lie -/;; of the leni^th of the skirt. 



Place broad flaps at side extending down from 
the front of skirt. 

These flaps should be shaped as indicated in this 
diagram, with a button at each corner. 

There should be six buttons on each side of the 
front, as shown in diagram. 

In all other details this coat is produced in the 
same manner as regular frock coat, subject to sys- 
tematical reeulations for fit, etc. 



154 



Footman' s Coat 




lo5 



Automobile Coat 



Measures as Follows: 

Waist length 18 in. 

To seat 243/2 in. 

Length 49 in. 

Breast 40 in. 

Waist 36 in. 

Scat 41 in. 

4 sizes of excess to breast, waist and seat. 




To Dra.ft 

All systematical points are obtained in the same 
manner as in single and double-breasted box overcoat, 
with the exception of a V taken out at front, and the 
collar, which is in military effect. 

Square up from I. 

22 to 21 is same distance as P to 22. 

to 15 is 4 in. 

16 to 18 is 4 in. 

Square out from 21. 

21 to 20 is 3^ in. 

Shape as shown in iUustration fioni 20 to 13, 15 
and 18. 

Cut front part of pattern apart from 27 to 25 and 
spread same 8 in., as shown, from 27 to F and 25 to 
26. 

Insert in jiattern a piece of paper 8 in. wide from 
23 to 24 and 25 to 26 for inverted plait to extend from 
pocket down. 

Above pocket add one seam to each side only. 

Coll&.r 

29 to 28 is 1 in. 

Shape as shown by illustration from 28 to P. 

From P to 35 is same distance as A to R and 
X to P. 

Width of stand of collar is 1>4 in. from P to 30 
and 35 to 34. 

Shape upper part of collar as shown by illustra- 
tion from 33 to 31 and allow one seam im upper part 
so as to make seam come on inside. 

Width of collar from 31 to Zl is 4 in., and same 
width in back. 

Place belt straps on back of coat and finish. 



Jiutomohile Coat 




Chauffeur's Sack Coat 




Produced on the style of the Norfolk, but with 
turn down collar and military closing at throat. In 
drafting a coat of this kind, always add two sizes to 
regular measures. For example: If circumference 
is breast 36, waist 32, seat 2>7. the draft should be 
38, 34 and 39, so as to make the garment easier. 

All systematical points are obtained in the same 
manner as in regular sack coat. Variations and 
measurements are to be allowed as shown in directions 
in Variations and Measurements. The difference, be- 
sides the excess, is that nothing is taken out at point 
C. For yoke and straps, as well as belt, follow illus- 



tration. These straps are sewed on the goods. The 
pattern is cut regular and these trimmings are laid 
on over pattern. 

In producing the collar, the distance from P to 
20 is same as from A to R and X to P. 

20 to 21 is 114 in. 

Shape as shown in illustration from 21 to P. 

Shape from 20 to P. 20 to 19 is 3 in. 

P to 18 is 3 in. Shape from 21 to 20 and 19. 

Shape from 19 to 18. Shape from 18 to P. 

Place at side patch pockets 8 in. in length, with 
flap and button, as shown in illustration. 



158 



Policemen's Blouse 




16- 

Mea-surements Used a.re Ols Follows : 

\\'aist lengtli 17'/ in. It has a straight front and buttons to the throat 

To seat 23% in. in miHtary style, and has a turn down collar. 

Length 29 in. This coat should be close fitting, and no excess 

Breast 36 in. in size is necessary in the production of same. It is 

Waist 32 in. understood that drafting is subject not only to pro- 
Seat i7 in. portions, but to height, variations and measurements, 

All systematical points are obtained in exactly as shown in stipulations in diagram illustrating same, 

the same manner as for regular sack coat. The small- This diagram is produced merely to show the small 

waisted effect is incorporated, as will be seen by V changes from regular, 
taken out in side. 

159 



Policemen s Coat 




POLICEMEN'S 



Measures as Follows: 

Natural waist 17 in. 

Fashionable waist 19 in. 

Fnll length 46 in. 

Breast 40 in. 

Waist 38 in. 

Seat 41 in. 

To Draft 

All systematical points are obtained in the same 
manner as for regnlar frock coat, with the exception 
of the front, which is produced in military style. 

L to is Yi waist plus ^ in. 

29 to 12 is 3 in. 

12 to 9 is VY in. 

Take out a \' as shown by illustration from 12 
to 9. 

Square out from P. 

P to 26 is 2>4 in. 
' Shape as shown by illustration from P to I and 26 
to I. 

26 to 25 is iy^ in. 

29 to 27 is 314 in. 

Shape as shown by illustration from 25 to 27. 

Place side edge of back as shown in illustration. 

Policemen's coats are usually made with standing 
collar, as shown in illustration. 

If turned down collar is desired see illustration of 
nulitarv overcoat. 



Policemen's Coat 




161 



N o r f o I k 



Mea-sures a.s Follows: 



Waist length 17^ in. 

To seat 23% in. 



Full length. 



.29 



Breast 36 in. 

Waist .' 32 in. 

Seat ^7 in. 



To Dracft 



All systematical points are obtained in same man- 
ner as in regular draft for sack coat, with the excep- 
tion that there is nothing taken out at point C, and the 
addition to waist is 4 in. 

Line up as shown in illustration from 4 to 7 and 
from 9 to 14. 

Line up from 20 to 25. 

to 24 is 1/6 breast measure. 

Line up from 25 to 24. 

18 is half way between 4 and 7. 

17 is half way between 20 and 25. 

21 is half way between 9 and L 

From 24 to 22 is same distance as from I to 21. 

Cut patterns apart as follows : 

From 4 to 7. 

From 9 to 14. 

From 20 to 25. 

From 25 to 24. 

From 21 to 22. 



From 18 to 17. 

Spread pattern 4 in. from 18 to 19 and 17 to 20, 
being 2 in. for box plait; the other inch on each side is 
for turn under. 

The back will then assume position shown by 
dotted lines. 

The same thing is done with fore part, spreading 
the pattern as cut 4 in. from 21 to 23, 22 to 24. 

The fore part will then assume the position as 
shown by dotted lines. 

Point 23 is brought back to 21 and 24 to 22, 
which creates a box plait of 2 in. 

Point 19 is brought back to 18 and 20 to 17, 
which creates a box plait on back from 18 to 17. 

Seams of %. in. must be added to all parts from 
7 to 4, 20 to 25, 25 to 24 and 9 to 14. 

Place the pockets as shown, and also belt, cover- 
ing seam below waist, which completes illustration as 
shown. 



162 



Norfolk Jacket 



\ 




163 



Golf Coat 




To DraLft 

Square out and down from A. 

A to B is % breast measure plus 3 in. 

A to C is waist length. 

A to D is seat length. 

A to E is full length. 

Square out from B, C, D and E. 

B to G is 3-2 breast measure plus 3 in. 

B to I is breast measure plus 2 in. 

B to H is 1-. breast measure plus lYz in. 

Square up from H. 

Square up and down from G. 

(j to S is 1/6 breast measure. 

Square up from S. 

A to T is 1/6 breast measure. 

T to R is J4 in- 

Rule a line from R to S. 

Square back from K finding point Z. 

Rule a line from Z to X. 

X to O is 1/6 breast measure. 



L to O is J/ waist measure. 

Shape from Q to I, O and down. 

Q to P is 1/6 breast measure. 

Rule a line from J through P. 

Shape from A to R and R to K. 

X to Y is ^ in. less than from R to K. 

H to F is 1% in. 

Rule a line from B to F, as shown by dotted linr. 

F to 2 is 3^ in. 

Shape from K to 2 and shape from Y to 2. 

Shape neckhole from X to P. 

Square down from H and shape from 2 to 3, M 
down to 5. 

C to V is ]/ in. 

Shape from A to V and square down from V. 

Ap])ly waist measure plus ilA in. from 3 to \^ and 
6 to 4. 

Apply seat measure plus 2 in. on the % of divis- 
ions from J\I to D and \V to N. 

Sweep back from 5, using point 2 as a pivot, find- 
ing point 6. 

Sweep forward from 6, using X as a pivot, find- 
ing point 7. 

Extend a button stand, 1^4 in- at I, 1 in. at O, and 
shape front and bottom as shown, lengthening 1 in. 
at point 7. 

This finishes the regular draft of sack coat. 

To produce the golf or stroke coat do as follows : 
Place the breast pocket and the lower pocket and cut 
out pattern as shown by heavy lines. Plait a piece 
of thirteen plaits of 1 in. each and place under pat- 
tern as shown. Mark around same and this will be 
the piece to insert for the plaiting. Also place the 
belt the same width at back as shown. Give a little 
spring at bottom to correspond with spring lost in 
forepart. The back is cut without a seam and is 
shrunk in at center as shown on drawing. There is 
also a box plait in back below belt the same width as 
back above belt and is shown by the fine solid and 
dash line. 

The breast pocket has a flap to go in and out. 
The lower pocket is a patch pocket, as shown. 

In laying the pattern together deduct the two 
seams running down from point 2 that you would 
lose on the original pattern and add seams in all 
places that are lost in putting in these plaits, that you 
would otherwise not lose in a regular coat. The 
plaits turn and run each way as shown by the small 
crosses. They are stitched on the edge close, but not 
stitched down flat, as they are intended to open out 
when the stroke is taken. 



164 



Golf Coat 




16.-) 



llidlng Coat 




Mea-svirements a.s Follows: 

Natural waist 17 in. From K to 23 is 1/6 breast measure. 

Fashionable waist 19 in. In producing skirt the distance from point 14 

Full length 33 in. to 15 is 1/12 seat measure plus -^4 in. 

Breast 36 in. Shape top of skirt as shown in illustration from 

Waist 32 in. 24 to 12. 

Seat 37 in. Shape from 12 to 27, 24 to 17 and 17 to 27. 

All systematical points for shoulders are obtained Flaps may be placed on the sides and patch 

in regular manner. pockets on the front part, as shown in illustration. 

Exceptions from regular frock coat to riding coat All other details in the production of this draft 

areas follows: are identical with regular frock, subject to height. 

C to 8 is 1/6 breast measure, making back wider. variations and measurements. 

169 



Hunting Sack 




Measurements as Follo^vs; 

Waist length 17j-j in. sufficient space for ammunition and other things to 

Length to seat 23^4 ™- be carried in the pockets. It is cut on the principles 

Full length 29 in. of the straight front sack, and has a turn down collar 

Breast 36 in. and buttons to the throat in military style. 

Waist 32 in. This coat is cut with a straight back and shaped 

Seat 37 in. only a little at the sides. As indicated by dotted lines, 

All systematical points are obtained in the same a protector is put on the shoulder so as to give more 

manner as for regular sack coat, subject to height, service in wear. The pockets are generally patch, 

variations and measurements, as shown in directions in and finished with flaps as indicated in draft, and are 

diagrams illustrating same, but in producing a coat of unusually large. The breast pocket is about 63^ in. 

this kind it is advisable to cut it 2 or 3 sizes larger wide and about 8 in. deep ; the side pockets are 10 in. 

than called for by the measurements, so as to allow wide and as deep as the length of the coat will allow. 

167 



INDIVIDUALITY SECTION 

Showing Construction of 
Coats and Vests^ Lapels 
and Collars different from 
the ordinary and which give 
Personality to the Wearer, 



160 



IndiuLduality 



Individuality to the tailor means the process of putting into his garments the different touches 
which emphasize and bring out his customer's personality. 

No two men are cast in the same mold. Each one has some small distinction which makes him 
different from his fellow. 

This is personality. 

It is personality which makes a man liked or disliked, a success or a failure. A man who has 
little personality has but little influence for good or otherwise. 

The tailor who is an artistic tailor makes it his business to emphasize this personality as much 
as possible. This is the difference between custom-made and ready-made clothing. 

A garment which is cut and made so as to suit one man as well as another tends to bring a man 
down to the common level, and takes away that attraction which is the birthright of every man. 

To increase a man's personality is to make him noticed and increase his chances of success. It 
is a cutter's duty to study each customer's build, attitude, character, and even his business, to be able 
to produce clothes which shall harmonize with and express his personality. 

Progressive cutters should cultivate individuality as well as style in the garments, for, while any 
average man can learn system without trouble, the true Sartorial Artist is not satisfied with the 
scientific part alone. He who can, by the use of graceful lines and curves, incorporate individuality 
with system, and produce garments which heighten the customer's personality and are becoming to 
the individual, has solved the problem, and is in fact, as well as name, an artistic tailor. 

Individuality is the strongest point today for the custom tailor. The ready-made manufacturer 
may obtain the best patterns in the world and work out the most complete system for his workmen, 
but for him to produce personal clothes for the individual customer is an impossibility. When a model 
has been graded, hundreds, and perhaps thousands of garments must be made from it, and these 
clothes must fit hundreds or thousands of men of varying personality, with only the difference in the 
height and size to distinguish one from another. The result is that the ready-made manufacturers 
make all men look alike. 

While I admit that it is possible for them to sometimes produce fitting, and even exaggerated, gar- 
ments, they can not produce individuality to the extent that their garments will express the person- 
ality of each and every individual wearer. 

The more study the cutter gives to the producing of individuality and style, the better will be the 
result of his work. The merchant tailoring cutter has an opportunity to display his resources because 



he knows his customer's peculiarities, because he prepares a special pattern for each individual cus- 
tomer, and because the cloth is cut and made specially from these patterns. 

For the purpose of illustrating to the student what is meant by INDIVIDUALITY and how to 
produce it, I have inserted in this section a number of drafts pertaining to individual garments, as 
stated in the introduction. » 

INDIVIDUALITY can best be expressed by variations in the style of a garment, as, an individual 
lapel or a certain shoulder, or a particular shape of collar, or the line or curves or the corners, etc. 

In the diagrams illustrating INDIVIDUALITY, it will be well to study the various lines and 
curves, also the different positions of seams, dashes, vents, etc. Exaggeration is a valuable aid to 
INDIVIDUALITY, as is the manipulations of patterns. The different lengths of coats, placing of 
pockets, etc., all c6me within the scope of INDIVIDUALITY. 

In connection with the problem of the making of individual garments, it is very essential that 
special study should be given the different patterns of woolens which suit each type of man, so that 
each customer will receive such cloth as suits his own personality. It should be becoming to his 
complexion, and the style and weave should be appropriate to his build, height, weight, age and occu- 
pation, so as to prevent, for instance, the possibility of making a suit of Scotch plaid for a man who is 
only 5 feet 4 inches in height and weighs 225 pounds, or of making a small stripe or a fine silky mix- 
ture for a six-footer weigliing 125 pounds. 

While it is true that the customer usually selects his own cloth, it is the duty of the merchant 
tailor and cutter to advise him whether his selection is right or wrong, and whether it is becoming to 
him. Personal experience has demonstrated that a customer will often fancy a piece of cloth which 
would be utterly unsuitable for him. Unless he is advised differently, he will, after the garment is 
finished, see his mistake, and blame the tailor for an unbecoming garment. Therefore, it is advisable 
to familiarize yourself with what is appropriate and becoming to various types of men in materials, as 
well as in shapes and styles of garments. 

In connection with the diagrams illustrating INDIVIDUALITY, study also the making of can- 
vases, how to make a try-on, how to try on, and the tailoring part thoroughly, as it matters not how 
good a pattern you produce nor how much style and individuality you incorporate in your patterns, 
unless in addition to the fundamentals, proportions, variations, height, circumference, exaggerations, 
manipulations of patterns, and lines and curves for individuality, you have enough knowledge of prac- 
tical tailoring to direct your workmen so that you can obtain what you desire. If not, the result will 
be unsatisfactory. See the article on "How to Instruct the Maker," and study to understand the 
reasons why it is essential to make such clothes as not only please the customer, but are also a credit 
to yourself. 



171 



Double Breasted Outing Sack Coat 




Measures as Follows : 

Waist length l/VS in. 

Length to seat 23;J4 in. 

Full length 30 in. 

Breast 38 in. 

Waist 34 in 

Seat 39 in. 

To Dracft 

All systematical points obtained in regular man- 
ner, subject to height, circumference, variations, 
measurements and exaggeration. 

The special feature jf this garment is the V 
taken out in the crease line of 1J4 'n. from point 
1 to point 9, giving an oval shape to the crease of 
apel. 

Also attention is called to the shape of the patch 
pockets, position of same and shape of lapel. 

Extension of button stand from front line is 4 
in. all the way down. 

This diagram was produced from a pattern drawn 
for an actual garment, material of which was white 
flannel. It was exhibited at various conventions and 
pronounced a most beautiful garment. 

Special study should be given to the lines and 
curves and all details of this garment. 



Double Breasted Outing Sack Coat 




173 



One Button Novelty Sack Coat 

^5 




Measures 

Waist length 17>^ in. 

Length to seat 23>^ in. 

Full length 29>4 in. 

To 

All systematical points are obtained in the regular 
manner, subject to height, circumference, variations, 
measurements and exaggerations. 

The difference from the regulation in this gar- 
ment is as follows : 

From H to S is Y^ in. 

From 4 to Y is % in. 

Shape as shown in illustration from R to S and 
S to 2. 

Shape as shown in illustration from Y to X. 

The lapels are long and have the oval effect on 



as Follows. 

Breast 36 in. 

Waist 32 in. 

Seat 37 in. 

Draft 

crease line and are scooped out on the outside edge. 

Take out a V of 1^4 in. at point P. 

Shape lapel and front as shown in illustration. 

The pockets shown in this diagram are welt. 

Take out a V in side of front part, as shown in 
illustration and stretch lower part of same and hold 
in the goods at upper part of V, thereby forcing a 
chesty effect into front. 

In all other details the garment is exactly the 
same as regulation. 



174 



One Button J^ovelty Sack Coat 




175 



Three Button Novelty Sack Coat 




Mea.s\ires a-s Follows: 



Waist length l/j^ in. 

Length to seat 2^y4 in. 

Full length 29 in. 

Breast 36 in. 



Waist a in. 

Seat i7 ill. 

E.xcess over breast 2 sizes 



To DraLft 



All systematical points are obtained in regular 
manner, including exaggeration, and subject to height, 
circumference, variation and measurcnT°nts. 

The special feature of this garment is that shoul- 
der seams are raised ;)4 in. from H to S. 

From 4 to Y is Yx in. 

Shape shoulder of back part as shown in illustra- 
tion from R to S. 

Shape shoulder of front part as shown in illus- 
tration from Y to X. 

From L to is J/2 waist measure. 

Apply regular waist measure plus 3j^ in. from 
3 to V and to 9. 



Take out a \^ in gorge of Ij^ in., thereby obtani- 
ing oval effect of lapel. 

Outside edge of lapel is 12 in. long. 

Notch of lapel is 2 in. and notch of collar is 1>4 
in. 

Take out a V in side and stretch lower part of 
V as shown by dashes in illustration, and shrink in 
upper part of V, thereby producing chest in the coat. 

Shape lapel, front and bottom, as shown in illus- 
tration. 

Re sure to study lines and curves of this garment. 



176 



Three Button Movelty Sack Coat 




177 



Three Button Hovelty Sack Coat 




Measures as Follows: 

Waist length 17>2 in. Breast 38 in. 

To seat 23^ in. Waist 34 {„' 

Full length 29>^ in. Seat ...2,9 m. 

To Draft 

All systematical points are obtained in the regu- V is stretched and upper part is held in so as to pro- 

lar manner, subject to height, circumference, varia- (]^,(-e ^^e chesty effect. 



tions, measurements and exaggeration. 

The special features of this garment are the shape 
of the lapel, and welt pockets (which are made to har- 
monize with the hollowed out lapel) ; front and bottom. 

A V is taken out in the side, and lower part of 



Special attention should be given to the shapes 
and curves of lapels, front and bottom. 

Also note that a V is taken out in gorge, which 
produces the oval effect to the crease line of lapel. 



178 



Manipulation of Front for Corpulent or Stout Figure 




In sack or overcoat for corpulent or stout figures 
there is always a surplus length of edge below the 
abdomen. This can be remedied as shown in illustra- 
tion by making a cut from center of armhole down to 
pocket from 1 to 2, and another cut in pocket from 3 
to A. Fold surplus over according to illustration at 4, 



making the opening between 2 and 3 ]4, in. for every 
inch subject measures more than normal at waist. The 
dotted lines at side and bottom illustrate the shape of 
side and bottom after this operation is performed. In 
cutting cloth cut as per dotted lines at side and bottom 
and take out goods in V from 1 to 2 and 3 to 2. 



Manipulation of Sack Coat Pattern 




This illustration shows how to obtain a square 
effect in shoulders ; also how to obtain a chesty effect 
from a regular pattern. Besides these it also shows 
how to obtain a double breasted front. 

After having drafted pattern according to pro- 
portions, height, circumference, variations and meas- 
urements, proceed as follows for square shoulders : 

Raise shoulder seam of back 34 i"- Forward 
front shoulder ]/?, in. and shape as per solid line, as 
(lotted lines indicate the regularly drafted pattern. 
In making, stretch the shoulder a trifle where shaded. 
This will produce the square effect of shoulders. 

For chesty effect take out a V in side for closer 



fit, and one at the back end of pocket and another at 
front end of pocket, as shown in illustration. Add to 
spring of front part as much as is taken out in V at 
back end of pocket. In making, hold the back a trifle 
full to the front part at side. Draw in the back a 
little before you sew in the sleeve and hold the back 
full to shoulder. Also, hold in the front of armhole 
slightly. This will give a smooth fitting back and 
chesty effect. 

For double breasted note dash lines and have 
buttons lj4 in. farther apart at chest than at waist. 
This will further increase the chesty appearance of the 
garment. 



ISO 



Flaring of Overcoat 




This diagram explains itself, therefore an ex- 
planation would hardly be necessary. 

Make a slash from the bottom 'of the back up to 
about V/> inches above the breast line and to arm- 
hole. 

Make a slash in the front part, extending about 
1 Vz mches above the breast line and to the armhole. 



Spread the back at bottom about V/, inches and 
the front about 2 inches. 

Place this pattern upon another paper and mark 
off. and you will have an overcoat that spreads well 
at the bottom without changing the balance of the 
coat. 



181 



Novelty Top Coat 




Mea.sures as Follows: 



Waist length 18 in. 

Full length 34 in. 

Breast 40 in. 



Waist 36 in. 

Seat 41 in. 

Excess circumference 4 sizes 



To Dra^ft 



All systematical points are obtained in regular 
manner, subject to height, circumference, variations, 
measurements and eyaggeration. 

The special feature of this garment is that it is 
produced without side seams. 

After having drafted pattern in regular vv^ay and 
having cut it out, paste the side seam of the front 



part and the side seam of the back part together and 
reduce same two seams. 

The armhole, shoulder, neckhole, front and bot- 
tom will present the appearance of the dotted lines. 

Cut the front and back part in one piece and the 
result will be a top coat without side seams. 



182 



J\louelty Top Coat 




183 



Single Breasted Box Overcoat 




Measures as Follows: 

Waist length 18 in. 

Length to seat 24 in. 

Full length 45 in. 

Breast 40 in. 

Waist 36 in. 

Seat 41 in. 

Excess in circumference 4 sizes 

To Draft 

All systematical points are obtained in the regu- sleeve is attached to armhole, and its relation to the 

lar manner, subject to height, circumference, varia- armhole. 
tions, measurements and exaggeration. The pockets are vertical. 

The special feature of this garment is the oval The sides are slightly shaped. This diagram is 

efTect of lapel and hollowed out outside edge of same. placed in this volume especially for its outlines. 

The dotted lines illustrate the manner in which Therefore, study the lines and shape of same. 



Single Breasted Box Qvercoat 




185 



Shell for Fur Coat 




Measures as Follows: 

Waist length 18 in. Waist 38 in. 

Seat length 24 in. Seat 43 in. 

Full length 48 in. Six sizes of exaggeration for circumference. 

Breast 42 in. 

To IDroLft 

AH systematical points are obtained in the regular Add a button stand of 5 in. all the way down the 

manner for exaggerated box overcoat, subject to front. 

height, circumference and measurements. Shape collar and lapel as shown in illustration, 

The difference is as follows: and with these few changes, including depth of scye 

Make depth of scye J4 in. lower than proportions and exaggerations, you will have a good shell for a 

or measures call for. fur coat. 

186 



Shell for Fur Coat 




Manipulation of Overcoat Pattern 




This illustration shows manner of obtaining a flar- 
ing effect at the bottom of overcoat as well as a chesty 
effect of same. Having produced a pattern from reg- 
ular proportions, height, circumference, variations, 
measurements and exaggerations, lay patterns on the 
cloth in regular manner, as the square in which the il- 
lustration is placed represents the cloth. Shape around 
pattern, then make a cut in the cloth from armhole 
down to the pocket. Plait goods from the pocket 
down to the bottom to the extent you wish the coat to 
flare. This will leave an opening from armhole down 
to the pocket. Lay the regular pattern on again and 



reshape side as shown by solid line. Insert a wedge 
in opening from armhole down to the pocket. This 
will give the flare at the bottom. 

For chesty effect to the garment, take out a \' 
at the front end of pocket as shown in illustration 
and make a wedge at side wide enough to make up 
for the V taken out in front end of pattern. 

For double breasted space buttons IjX in. wider 
over chest than at waist. Remember, )'0u use an ordi- 
nary pattern and these manipulations are made on the 
cloth. 



Manipulation of Overcoat Pattern 




Two Button Novelty Frock Coat 




r ^ 



Measures as Follou's: 

Natural waist 17 in. Breast 38 in. 

Fashionable waist 18J^ in. Waist 34 in. 

Length 37>4 in. Seat 39 in. 

To Draft 



All systematical points are obtained in the regular 
manner, subject to height, circumference, variations 
and measurements. 

The special feature of this garment is the flar- 
ing skirt, length of lapel and narrow side body at the 
waist. 

The front closes with 2 buttons and button holes. 



one being in the waist seam and the other 5 in. above. 

By making two slashes in the skirt and spreading 
same 2 in. each slash, a flaring effect will be given. 

Width of side body at waist is J4 waist measure 
minus i/i in. 

Note lines and curves of the different parts of 
diagram. 



190 



Two Button Novelty Frock Coat 




191 



Novelty One Button Frock Coat 




Measures as Follows: 

Natural waist 1 7 in. Breast 36 in. 

Fashionable waist 183^ in. Waist 32 in. 

Full length 38 in. Seat 37 in. 



To Draft 



All systematical points are obtained in the regular 
manner, subject to height, circumference, variations 
and measurements. 

The special features of this garment are the low 
opening and long oval lapel with scooped out effect on 
outside edge of same and pockets at side which are 
finished with a welt. 



Width of side body at waist is 34 waist measure 
minus ^ in. 

A V is taken out in front part to produce a 
chesty effect. 

The run of the front will allow vest to be shown 
when finished. 

In other details the diagram explains itself. 



X92 



Novelty One Button Frock Coat 




193 



Three Button Alooelty Frock Coat 




Measures as Follows: 

Natural waist ■. 1/ in. Breast 38 in. 

Fashionable waist 18>4 in. Waist 34 in 

Full length 39 in. Seat 40 in 

To Draft 



All systematical points are obtained in regular 
manner, subject to height, circumference, variations, 
measurements and exaggeration. The special feature 
of this garment is the chesty effect produced from 
two Vs being taken out the front part from waist 
seam up, as shown in illustration. 

The long oval lapel is obtained by taking out a 
V of 1J4 in. in gorge. 

Take out a V at front end of flaj) of ^j, in. and 
take out Yz in. V on side of front part running up 
from waist seam. 



The side body is narrow, obtained by % waist 
!>ieasure minus y^ in. Special attention should be 
given to the run of the front, as well as that of the 
bottom, also shape of flaps. See they are hollowed 
out as shown in illustration so as to conform with the 
hollowed out lapel. The breast pocket, vi'hile placed 
on slant, also has the same oval shape so as to con- 
form with lapel. 

Too much study cannot be given to the lines, 
shapes and curves of the various parts of a garment 
of this kind. 



191 



Three Button Movelty Frock Coat 




195 



Double Breasted Novelty Frock Coat 




Measures as Follows: 

Natural waist 17 in. Breast 38 in. 

Fashionable waist 18>^ in. Waist 34 in. 

Full length 43 in. Seat 39 in. 

To Draft 



All systematical points are obtained in regular 
manner, subject to height, circumference, variations, 
and measurements, as shown in system. 

The special feature of this garment is the narrow 
side body, the width of which is ^ of waist measure 
minus ^ in. 

The special width of skirt is obtained by using 
14, seat measure from U to 17 and hollowing top of 
skirt seam. 



The illustration shows flat braided edges and lap- 
els are silk faced to notch. 

The front closes with 2 buttons and there are two 
button holes on lapel. 

Width of lapel at bottom is 2j/2 in. and where the 
top button hole is placed it is 3^-2 in. wide. 

Special attention should be paid to the lines and 
curves of this draft. 



Double Breasted Novelty Frock Coat 




197 



Novelty Full Dress Coat 




Measures as Follows: 

Natural waist 17 in. Breast 36 in. 

Fashionable waist 18 1^ in. Waist 32 in. 

Full length 41 in. Seat 37 in. 

To Draft 



All systematical ])oints are obtained in the same 
manner as for regular full dress coat, subject to height, 
circumference, variations and measurements. 

The special feature of this garment is that front 
and skirt are cut in one piece, consequently there is no 
strap or lapel seam. 

A V of 3 in. is taken out in crease line of lapel 
and another V is taken out in front part at point 10 ; 
also one in skirt. ( See point 10). 

Stretch V in front part where shaded at point 10 



so as to obtain slickness in side and length in front 
part, for seam necessary to join front part and skirt. 

Side body is narrow, and obtained by 34 waist 
measure minus -y^ in. 

Shape lapel, front and front of skirt as shown in 
illustration. 

In the reproduction of this kind of coat it would 
be well to have the collar and lapels faced to the edge 
with silk. 

Special study should be given to the lines and 
curves of this diagram. 



198 



J\lovelty Full Dress Coat 




199 



Novelty Double Breasted }iewmarket Coat 

Measures as Follows: 

Natural waist 17 in. Breast 40 in. 

Fashionable waist 19 in. Waist 36 in. 

Full length 49 in. Seat 41 in. 

Excess 3 sizes over chest. 



To Draft 



AH systematical points are obtained in the usual 
manner. 

This draft may be subjected to height and meas- 
urements according to system. 

The difference between this coat and regfular New- 
market is as follows : 

No seam in middle of back. 

Width of back from V to 8 is j5/^ breast measure. 

Width of side body is Y\ waist measure minus 
% inch. 

N to W is 1/6 breast measure plus li/. in. 

The V taken out at button stand is the same 
amount as the difference between the squared down 
line and the line obtained by applying waist measure 



from L to O. ( See distance between squared down 
line and front line at W.j 

Also, take out another V in side of front part, as 
shown by illustration. 

The lapel is M/i in. wide at chest and 2j/2 in. at 
waist. 

From P to 26 is 2^ in. 

Shape lapel and front as shown by illustration. 

The front part and skirt are cut in one piece at 
front. After laying up regular skirt make four 
slashes in same as per dotted lines and spread each 
slash 2 in. 

In all other details the diagram explains itself. 



200 



Movelty Double Breasted Newmarket Coat 

J -L. s_ 




201 




Collars and Lapels 

Different Styles of Makeup of Sleeves 





Collars 

and 
Lapels 

Different Styles 

of Makeup 

of Sleeves 




K 




203 



Flaring of Skirt 




The dotted line indicates a normal skirt front. To 
obtain a full flare at the bottom without changing the 
balance of the skirt, make four slashes in a proportion- 
ate skirt and spread the same as much as you wish at 
the bottom. (Two inches in each slash will give a 
good full skirt.) Place this upon another paper and 
mark oflf and you will obtain the desired result. Skirts 
to all frock coats should be treated in this manner 
when a proportionate skirt is not desired. 

204 



Vests 




SHOWING NOVEL DESIGNS IN REGULAR 
AND FANCY VESTS 



205 



Novelty Vest 




The above draft illustrates a single breasted three-button novelty vest. 

Measures as Follows: 



Waist length 17 

Breast 36 

Waist i2 



in. 
in. 

in. 



Opening 16 in. 

Full length 26>4 in. 

Length to side 22 in. 



To Draft 



AH systematical points are obtained in regular 
manner, subject to height, circumference, variations 
and measurements. 

The special feature of this vest is the shaping of 
the opening, front and bottom. 

There is only one pocket at each side and these 
pockets have flaps. 



Special attention should be given to placing the 
pockets as shown in illustration. 

This diagram has been specially inserted with the 
view of showing a pattern of vest front suitable for 
fancy material, such as brocaded velvet or novelties, 
and while the edges in this instance are braided, it is 
not necessary to have them so, provided the ma- 
terial would make up a good edge without braiding. 



206 



Double Breasted Vest 




Measures as Follows: 

Waist length 17 in. Opening 15 in. 



Breast 36 in. 

Waist 32 in. 



Full length 26 in. 

Length to side 22 in. 



To Dra.ft 



All systematical points are obtained in the regu- 
lar manner, subject to height, circumference, variations 
and measurements. 

The special feature of this vest is the shaping of 
the lapels and width of button stand. 

It will be noted that the crease line of opening 
is produced with oval effect and the outside edge ot 
lapel is absolutely straight. 



The buttons are 7 in. apart at top and i]^ in. 
apart at bottom. 

In connection with this diagram it is well to note 
illustration of manipulation of front part of double 
breasted vest, as by cutting a V close to button stand 
and reducing length at opening, as shown in illustra- 
tion, it is possible to obtain not only a chestv efifect, but 
also a closer opening without the aid of too much hold- 
ing in with the stay tape. . • 



207 



Single Breasted Novelty Vest 




Measures as Follo\vs: 

Waist length 17 in. Opening ". 14 in. 

g j.g^g^ 36 in. Full length 26 in. 

■yy^jjgj. 32 in. Length to side 22 in. 

To DraLft 



All systematical points are obtained in the regular 
manner, subject to height, circumference, variations 
and measurements. 

The special feature of this vest is that the opening 
is produced with a turn down lapel and standing col- 
lar. 



The front has one pocket on each side with flaps. 

A V is taken out in the front part from the bot- 
tom up so as to produce a chesty effect. 

By careful study of this diagram and noting the 
way the opening is made the student will be able 
to produce this novelty vest. 



Motch Collar Novelty Vest 




I 



t 



Measures as Follows: 

Waist length 17 in. Opening 16 in. 

Breast 36 in. Full length 26>4 in. 

Waist 32 in. Length to side 22 in. 

To Draft 



All systematical points are obtained in the regular 
manner, subject to height, circumference, variation 
and measurement. 

The special feature of this vest is the artistic 
shape of collar, front and bottom of front part. 

This vest front closes with four buttons and but- 
ton holes, and has one pocket on each side of front 
part. 



Flaps shaped as shown in illustration. 

A V is taken out in front part so as to give 
smoothness to the waist and a chesty effect. 

Special attention should be given to the oval ef- 
fect of opening, shape of collar, front and bottom, as 
effects and lines of this character should be used by 
all good and artistic tailors. 



2oy 



Full Dress Vest 




Measures as Follows: 

Waist length 17 in. Opening 21 in. 

Breast 36 in. I'\ill length 26y2 in. 

Waist 32 in. Length to side 22 in. 

To Dra^ft 



All systematical points are obtained in regular 
manner, subject to height, circumference, variations 
and measurements. 

The special feature of this vest is that it illus- 
trates a V-shaped opening, the long points at front of 



vest, and the V in front part taken out which gives 
smoothness to the waist and the chesty effect. 

Particularly note shape of opening, collar, cor- 
ners and bottom of front part, as graceful lines of 
this kind may be incorporated in the production of 
noveltv vests. 



210 



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211 



Cloth Cutting 



While the systems published are numerous, the authors seem to forget that besides the production 
of patterns there is another important part of tailoring, viz. : Lay-outs and cloth cutting. Much time 
and material has been wasted in gaining this knowledge, and realizing this fact, the author of this 
volume therefore places before the student a few layouts so as to give him a good start in cloth cut- 
ting, as well as in the placing of outlets, pockets, buttons, etc., as shown in illustrations of layouts. In 
this connection we have also illustrated the necessary fittings, such as facings, flaps, facings for pockets, 
collars, etc. Careful study of the illustrations and trials from regular patterns on cloth will be found 
not only a great saving of labor, but of great practical value to the student. 



213 





215 



Lays for Trousers 




l.PiY FOR TROUSERS 

Seat, 40 in.; 32 in. inseam. Amount of material required, 
114 yards, 55 in. wide. Fold, out. 



LAY FOR STOUT MEN'S TROUSERS 
(Back Part Reversed.) 

Seat, 45 in; 32 in. inseam. Amount of material required, 
Xy^ yards, 55 in. wide. Fold, out. 



Lays for Vests 




o 




LAY FOR DOUBLE BREASTED VEST 

Breast, 38 in. Amount of material required, Vi yard, single 
width, doubled over. Fold, in. 



LAY FOR NOTCH COLLAR VEST 

Breast, 38 in. Amount of material required, % yard, single 
width, doubled over. Fold, in. 



Fittings 

For Coats, Vests, Trousers and Overcoats 



The diagrams in this section illustrate the fittings necessary for Coats, Vests and Trousers, such as front 
facing, pocket facing, welts, flaps, and necessary outlets. 





FITTINGS FOR SACK COAT. 



FITTINGS FOR OVERCOAT 



While the undercollar is illustrated, it is customary to cut it from special undercollar cloth. In all other 
details the diagrams explain themselves. 



218 



Fittings for Frock Coat, Vests and Trousers 




BACK PART OF VEST 




FRONT PART OF VEST 




FRONT PART OF FROCK COAT 




TROUSERS 



219 



PRACTICAL TAILORING SECTION 

INCLUDING 

How to Make a Try-on 
How to Try-on 
How to Instruct the Maker 
How to Make Coats^ Vests 
and Trousers 



221 



Practical Tailoring 



There is only one kind of tailoring which can be recognized, and that is the kind which makes 
it pleasant in an establishment ; the kind that is appreciated by persons of good taste and wearers of 
good clothes ; the kind that causes a new customer when he puts on his suit to make up his mind not to 
go elsewhere in the future for his clothes, and to willingly pay the price asked, because he is satisfied 
that he has received full value for his money and the best of everything that makes up an ideal garment, 
material, style, symmetry, fit and the best possible make. 

To my idea a good tailor is as much an artist as the cutter. It is not his sewing alone that pro- 
duces the smoothness, beauty and effect so much desired ; it is his artistic skill. 

I am aware of the fact that there is another kind of tailoring, but that I could not possibly rec- 
ommend. Undoubtedly you have heard of it. It is the kind that makes the cutter feel the chills creep down 
his back when the garment is brought to him ; it is the kind that creates argument between the customer 
and the producer. In establishments that handle this grade of work there are always misfits for sale. 
This class of tailoring is detrimental to the trade and the merchant who deals in it may be ranked 
among the money sharks. The bargain-hunting customer will soon find that he has paid from seventy- 
five to one hundred per cent profit to a man who does transient tailoring business, while the high-priced 
dealer charges only from thirty-three and one-third to forty per cent profit. By showing your customer 
these comparisons he will clearly see that by paying more for a suit, he is a gainer both in a financial 
and practical way. 

These e.xplanations I find necessary in order that I may be clearly understood in my attempt to 
illustrate and explain the manner in which I used to make coats, vests and trousers, and at the same 
time how I am having them made now. 

First, in cutting the patterns they should be carefull}' prepared. The principles applied should 
be those of proportions, variations and direct measures, and exaggerations and manipulations of pat- 
tern should be incorporated when necessary. The height of the subject should be given consideration so 
as to stipulate the exaggeration and to obtain the proper depth and proportionate length, etc. In other 
words, the cutter should not only apply his technical knowledge and ability, but also analyze his measures, 
inasmuch as some of them are useless and others may have been taken incorrectly or carelessly ; in fact, 
patterns must be carefully prepared under all circumstances. 

Before laying the pattern on the cloth, be sure that the cloth has been properly shrunk. Notice 
that the lay of the pattern conforms with the run of the grain of the cloth. Be sure that the lay is sat- 
isfactory from an economical as well as practical point of view. Allow the regulation outlets. See that 
the chalk is well sharpened, so that in chalking around the pattern you obtain good and clean lines. 
Carefully mark your pockets, placing of buttons, etc. Then chop out. After having trimmed the suit in 
the proper manner and wrapped it up in the canvas, tie it up with a stay tape and attach the maker's 
ticket and the cutter is then ready for the next. 

223 



Hotv to Make a Try On 



Having finished putting in the thread marks in the different ])arts of the coat, such as outlets, 
pockets, button stands, etc., proceed to cut the canvas. It is understood that the canvas should be 
thoroughly shrunk before cutting and it should be cut so that the threads will run straight with the front, 
to give steadiness to the front of the coat. It is well to bear in mind that the canvas is the foundation of 
the garment and the tailor cannot be too careful in preparing it. 

Having cut the canvas according to regulation, make a cut in shoulder as illustrated by point D, 
diagram 1. Take out the V as in same illustration at point B. Place the straight edge from the shoul- 
der point down to center of chest. Place point C one inch below the scye depth. Measure down seven inches 
for the average size and take out % of an inch opening at angle and the same amount at point A, bear- 
ing in niiiiil that the straight line should always run with the front. Now you are readv to join the 
opening by placing a strip of stay linen on under side and cross stitch over edge to edge. Insert a V of 
3-4 in. at point D and sew up same as shown in illustration. Sew up the V taken out at point B by placing a 
piece of linen on the under side and cross stitch from edge to edge, as shown in illustration on diagram 2. 

Next prepare the hair cloth as indicated in diagram 2. Have the horsehair run straight across the 
shoulder: make slashes in the haircloth where indicated in the illustration, and fit it on the canvas in 
the shoulder, by making a cut at point E, and placing another piece of haircloth, with the horsehair 
running up and down, at same point, thereby making a spring to the shoulder, as shown in illustra- 
tion. Cover the edges of the haircloth with silesia, or some thin material, and be sure that the hair- 
cloth and canvas harmonize in the shoulders. 

Ne.xt in order examine diagram 3, which shows the canvas com]:)leted, the haircloth having been 
covered with one sheet of wadding in the shoulder and over the chest, and this then covered with 
flannel. Padding is too thick and does not work so well. Then pad the canvas as indicated in diagram 
.3. Do not pad too close, nor take too long stitches, as one way would be as bad as the other. If i>adde<l 
too close it would make the canvas and breast too stiff, and would not produce fhe smooth effect desired. 
Therefore, do not pad too close nor pull the stitches too hard. 

Next, press the canvas thoroughly into shape ; also press the fore part of the coat into shape. Stretch 
the shoulder a trifle at the place where the V is inserted in the canvas, or point D, and give a slight 
stretch to the neckhole near the shoulder point. Press in the breast of the coat and press the coat over 
thoroughly, and be sure the edges are inclined to be short all around the front and the bottom. Press in the 
armhole slightly at front of scye. Be sure the canvas and front part are so shaped in pressing as to 
conform with each other. 

Before going further I will say that I prefer to have the pockets put in a sack coat or overcoat 
before try-on. I am aware of the fact that it is not practiced to a great extent for the reason that in 
many cases the tailor is given no time to put in the pockets. In many tailoring establishments there are 
special try-on men, consequently the regular coaimaker does not make the try-on. Still another rea- 
son is that some cutters are afraid of misplacing the pockets for fear that in try-on they would have 
alterations that would misplace them. While admitting that with a cutter who takes careless measures 
and is not in the habit of paying attention to details of the customer, difificulties of this kind would arise, 
I am of the opinion that a careful cutter who knows how to produce jiatterns properly, including the way 
of placing the pockets, will be far more successful by having his pockets in for try-on, because the canvas 
is then basted under the front for good. On the other hand, if the pockets are not put in before the 
try-on, the canvas is generally torn away from the front part and the front part pressed over separate 
from the canvas and nine times out of ten the cloth is stretched more or less in different directions. When 
the canvas is basted under for the second time, the front part and canvas do not harmonize. Many 
tailors do not seem to think is necessary that the cloth and canvas should harmonize and that it must be 

224 



Canvas for Coat 



DIAGRAM 1. 




225 




DIAGRAM 2. 



DIAGRAM 3. 



exactly as it was when tried on, in order to procure good results. Extraordinary care should be taken 
to be sure that the front part and canvas harmonize, as it is a well-known fact that the canvas leads 
the cloth. Therefore, the front part and canvas must be in absolute harmony, for if they did not har- 
monize it would dislocate the shoulder and throw the coat out of balance. It would make no difference 
how good patterns a cutter produces or how carefully the coat has been tried on. 

Therefore, for the above reasons I favor having the pockets put in and the canvas basted under 
for good before the garment is tried on. 

In starting to make pockets, see that they are put in the right place and of the proper size, and 
carefully mark the same. Next proceed to mark out the flaps to correspond with the length and width of 



the pocket. Cut cmt the flaps, allowing sufficient for seams all around. Now turn the right side of the 
goods toward the lining and in basting the lining under the flaps see that it is rather snug, especially in 
the corners. Particular care should be exercised in this respect. Next sew around the flaps. Turn them 
and carefully baste around their edges. Stitch around the first row before pressing and if double 
stitched, stitch the second row after pressing. Having completed and pressed the flaps, mark from the 
wrong side the width desired. Next baste a strip of stay on the wrong side of the front part where the 
pockets are to be placed. Baste a strip of goods, well-stayed, to the right side of the lower part of the 
pocket and baste the flap to the upper part. Then sew through the flap as well as the stayed strip, as 
shown in diagram A. Next examine diagram B. which shows the staying of the pocket from the wrong 




/7/aj». a. 





Di^o-D. 



^ 



side, also where the pocket has been cut open between the two rows of stitching, leaving a seam on 
each side and illustrates the manner in which the ends of the pockets should be cut in order to obtain 
a turn for the finish. Next press out the seam of the lower part of the pocket and press down the flap. 
Then turn the stayed strip of goods over and mark the semi-welt the same width as you intend to stitch 
the edges of the coat. Turn and stitch same as shown in diagram C. Face the under side of the pocket 
which now appears on the lower part on diagram C, with a piece of lining and baste same to the upper part, 
covering up the flap. Baste a stay from the back end of the pocket up to the armhole. Stitch through the 
upper part. Make the pocket the desired depth. See diagram D, pocket completed. 

For regulation welt pocket, first make your welt properly. Mark off the width of same. Sew 
it to the front part and press out the seam. In details this pocket is made very much like the one in the 
foregoing explanation, less the flap. Press the pockets thoroughly and see that you have everything 



smooth and get ready to baste the canvas under. Place the canvas right before you on the bench. Lay 
the front part over the same. Be sure that the front part and the canvas harmonize in every detail. Then 
start to baste, as indicated in diagram E, from 1 to 2, 1 to 3, 3 to 4, 4 to 2, 6 to 7 and 7 to 2. See that your 
front part is good and smooth over the canvas in the shoulder, having the canvas rather full under the front 
part between 1 and 2, 1 and 3, 3 and 4, 4 and 2 and 6 and 7, and push the goods back a little from the 
edge from 7 to 2, so as to give the front edge a tendency to turn in. Next turn the ends of your pocket 
and tack same, and in tacking your pocket, do so with accuracy and be sure to have the same good and 
clean, as well as firm, so that it can withstand the strain. The canvas is then basted under and the pocket 
presents a complete appearance. Diagram F illustrates the canvas from the wrong side after it is 
basted under the front part, as well as the pocket completed, and the stay from the pocket to the arm- 
hole and front end of pocket tacked to the canvas. The diagram explains itself. 

Next baste your side seams together. Hold your back a trifle full to the front part just below the 
armhole. Baste together the back seam even all the way down. Turn all seams and rebaste them. Press 





the seams, also the front parts and turn in the edges all around. Baste your shoulder seams together and 
give the back about ^ in. fullness. 

Use special under collar cloth for the collar. The canvas for the collar should be cut so that it 
runs with the thread in the front of collar and on the bias in the back. The collar should not be stretched 
much; hardly anything on the outside, but stretch it some on the inside, so as to conform with the stand. 
Then crease it over. In basting on the collar, see that you hold it good and full near the shoulder seam 
on the front part, and rather short in the gorge and even in the back. 

Baste up your sleeves. Se sure that they do not twist in any way and in basting them into the arm- 
hole, see that they are properly placed and have the proper amount of fullness. 

Give the whole coat a good smoothing over with the press iron. Trim off uneven outlets, canvas or 
anything that does not look clean and your coat is ready for try-on. Remember that unless the try-on 
has been properly prepared, it is practically of no value, as the defects of the garment can only be traced 
in a coat that is properly basted. 

228 



Hotv to Try On 



Before going into the details of how to try on, I will first direct your attention to the fact that be- 
side being a good try-on man and draper of garments, it is very essential to understand how to handle 
the customer at the time of the try-on, inasmuch as the try-on is a most important and very trying ordeal. 

It is advisable that in trying on a garment you do it without the assistance of anybody else. Most 
customers have a decided objection to more than one person trying on a garment. Apart from the truism 
"that too many cooks spoil the broth," it certainly acts as a detriment to the cutter in obtaining the cus- 
tomer's confidence in his ability as a cutter and fitter. The result is that often after a garment has been 
completed and sent home, it is returned to the firm with the words, "the garment is not altogether what I 
expected." You wonder why it is sent back. You look the garment over carefully and you cannot detect 
any material defects. You send word to the customer, asking him to call, so that you may slip on the 
garment. The customer calls. You inspect the garment and find it to be good. In fact, as good a gar- 
ment as you anticipated when you tried it on, but the customer does not seem to think so. He asks 
questions about this or that. He seems to hesitate as to whether you are telling him the truth when you 
say that the garment is all right and he seems to doubt your judgment. The fact is these difficulties orig- 
inated because you did not try on the garment alone. There was someone else connected with the estab- 
lishment present when the garment was tried on, who no doubt made some suggestions to you as to the 
fit and style of the garment, and the customer simply took it for granted that you were incapable and 
must have some one to direct you in order to produce the proper style, etc. I mention this inasmuch as 
I am personally acquainted with merchant tailors, managers and salesmen who are very desirous of im- 
pressing the customer with their broad experiences in the trade as well as their ability as creators of 
style. But these impressions generally prove a financial loss to the firm and in many instances these in- 
truders display rather their want of knowledge, practical experience and fitness as creators. 

When trying on a garment the cutter should under all circumstances maintain a calm and collected 
demeanor, and by all means listen to the customer's requirements in a respectful manner, showing by intel- 
ligent inquiries that his sole aim is to please. Overcome any semblance of nervousness, for should the 
customer notice that you are nervous, he will lose faith in you at once. 

Before slipping the basted garment on the customer contrive that he does not stand in front of the 
mirror, for if the customer sees himself he generally assumes an attitude different from his usual one. 
For this reason I would advise you to select a certain place where you can slip on the garment and give it 
a preliminary examination. This place should be so arranged that the customer will be confronted with 
something which will attract his attention, a pretty picture or anything that will occupy his mind while 
you are making your inspection. I will call his attention to this, saying, "How do you like this prettv 
picture here?" etc. By drawing the customer's attention to this attraction he will momentarily forget 
all about the try-on and his interests will be centered elsewhere. He w'ill assume his regular position 
and attitude, and it will then be possible for you to give the garment a thorough inspection as well as 
draping. 

First, be sure the garment is placed in proper position, as it is from want of this one-half of the 
difficulties may be traced. Turn to the front, pin it together and be sure to notice that both sides are 
being fitted alike. 

Notice the length and width and hang of the sleeve. Make necessary markings for alterations 
and rip out your sleeve. 

Place your hands under the arms of the customer, thereby ascertaining whether the armhole is too 
deep or too shallow, or if it has the proper depth, and proceed in a methodical manner to inspect the gen- 
eral defects of the garment. 

Smooth your hand across the shoulder and see if your back balance from the back of neck to the 
bottom of scye is correct. Then pass on to the front and observe the fit from the shoulder. Does the 

229 



garment balance correctly? If not, unrip the collar, turn to the back, arrange a perfect balance, and 
place a pin at the back of neck. 

Next open the right shoulder and pin it together so that you obtain the proper balance front and 
back. Turn to the left shoulder and perform the same operation. Next pass again to the back and no- 
tice what effect this changing of shoulder had on the waist and seat. See that you have made proper 
provision for the hips. Notice the run of the side seams and that the garment is properly fitted over the 
blades. Observe the tit of the back of armhple and see that it is in harmony with the curve of the back. 
Notice the position of neck point and pin the collar on to the garment in such a way that you obtain the 
proper height, length and run. Next mark the shoulder seams and neck hole. Carefully inspect the arm- 
hole, also mark the same. See that any change you may make is in harmony with all other points. Then 
mark the front of the garment. 




At this point I would politely request the customer to step before the mirror and when there would 
inquire if he wishes to make any suggestions, regarding either style or fit. In deciding such matters with 
the customer, be sure that he does not lead you on to make alterations such as would change the balance 
or spoil the garment, but at the same time defer to his opinion. 

Ne.xt unpin and take off the garment. Show the customer courtesy by helping him to redress and in 
parting bid him a friendly "good-day." 

As soon as you can find time after the customer has gone be sure to re-mark the different alterations. 
Too much care cannot be exercised in this respect. It is well to remember that "Nature in her productions 
slow aspires by just degrees to reach perfection's height." and it is the smaller details that count in a well 
fitting as well as stylish garment. 

230 



Hoiv to Instruct the Maker 

Having under the head of "Making of Try-On," and also "How to Try On," dwelt upon the neces- 
sity of handling the customer so that you beget confidence and respect in him, I will now make an at- 
tempt to explain how I instruct the maker of the garment and I take this opportunity to impress upon the 
mind of the student that to obtain good results in the end there must exist a perfect understanding 
between the cutter and the journeyman tailor, as to the making of each individual garment, as well as 
to the absolute necessity that good feeling between these two individuals should exist. Unless there is 
harmony between the cutter and the journeyman tailor the productions of this combination would be 
unharmonious and deficient in style and probably also in quality. Let me, therefore, suggest to the cutter 
that he select such jours, to do his work are are in harmony with his own ideas and teachings. I say teach- 
ings, for the reason that it is necessary to instruct the tailor as to particulars of each garment. Remem- 
ber that your customer has his clothes made to order chiefly for the reason that he may get the small 
details attended to in a most careful manner, as well as to obtain clothes that are suitable for his par- 
ticular build and up-to-date style. In view of these facts, it is necessarv that the cutter and tailor should 
not only be friends, but should also recognize and respect each other for the mechanical qualifications 
possessed by them as individuals, as well as for positions occupied by them in their respective branches 
of sartorialism. Further, the cutter should by all possible means endeavor to create a good feeling among 
his help as well, by good, sensible, practicable instructions. Tn giving the tailor his work, let him luider- 
stand that it must be executed in the manner he had instructed and that this is a matter of business, and 
further impress upon him the fact that unless these details are carried out to the letter the work will not 
be accepted. On the other hand, these instructions and rules should not be given in a hastv or impatient 
manner, but in a way calculated to give the proper impression and have the desired efTect. I have seen 
cutters who, after they had tried on the coat and pinned up the shoulders, omitted to take out the pins, 
simply giving the tailor the coat, telling him to make it up as it was pinned and that it would be all 
right. Now, this is not the way to obtain good results. The cutter then places all responsibility on the 
tailor and the tailor may do the best he can, but the fact is he has no conception as to the customer's 
requirements for this particular garment. 

I have noted the results from such deficient handling of garments which have by no means been 
satisfactory either as to fit or as to style, and have seen that these lame instructions to the tailor act 
as a creator of arguments between the cutter and the tailor. The cutter will say after he has had to make 
alterations that had the tailor made it as it was pinned, it certainly would have been all right ; while, on 
the other hand, the tailor will say that he made it as it was pinned, but had no definite instructions as to the 
making. He will add that he has done the best he could in marking it off, but in view of the fact that the 
cutter did not say anything further about this or that, he made it according to the regulation that he 
had learned years ago. I have seen some very good tailors quit their positions on account of this kind of 
argument and because the cutter has not been careful in his instructions. It is unreasonable to expect 
the tailor to know everything in detail unless he has been instructed for each particular garment. 

231 



I will say right here that the cutter shoiiW unpin the i^arment, mark the alterations carefully ; in 
fact, unless the cutter attends to these details, the tailor will he impressed with the lack of knowledge 
displayed by him, and the truth is that the careful, practical and capable cutter always marks his altera- 
tions such as shoulders, armholes, fronts, etc., carefully, where changes may be needed, and makes notes 
of details as well. 

Then, again, I have seen the cutter who has made his markings, etc.. tie up the garment in a bundle, 
throw it intd his usual corner and probably let it lie there for a week or two. When he is ready to give 
the garment out, he simply hands the bundle to the tailor without any further instructions than to tell him 
to have the garment completed by a certain time. 

This is also wrong in my estimation. In place of simply giving the tailor the bundle and telling 
him make the garment, I would untie the bundle and with the tailor I would go over every detail of 
alteration, showing him in an intelligent manner the reasons why I had made these alterations. I would 
inform him of the customer's disproportions and attitude and give him comprehensive instructions as to 
the style of the particular garment. The collar and the lapels should also be thoroughly delineated. I 
would give the tailor a special pattern to follow in this respect. I would inform him about the length of 
the collar required, how to hang the sleeves. I would instruct him whether they should hang normal, for- 
ward or backward and give reasons therefor. For example, "This customer stands erect and requires a 
longer collar, and have the sleeve hang backward to this or that extent," or "Mr Jones stoops quite a bit 
and see to it that the collar is not too long and that the sleeves are brought forward so and so much." 
"Move the back up so and so much as to avoid this or that, or move the back down so or so much," and 
give reasons therefor. "Further, take out the front of armhole so and so much and add so and so much to 
the width of back," and give reasons therefor. "See about and crook the shoulder so or so much," and 
state why you do so. Further, I do this or that for creating this or that effect. In moving your collar up 
or down state reason for same, so and so much fullness is necessary there or there, and give reasons why 
this is done, or do this or that so as to create a square shoulder effect, or do this or that so as to obtain 
the oval lapel. 

Further follow this line here (indicating) for your front, place your buttons so or so. In fact, 
familiarize your tailors with all the details necessary in order to obtain a well balanced, fitting and stylish 
garment, and be sure that they understand you in every detail. If you think the tailor is forgetful write 
down the directions on an extra slip of paper, pin it to your measure ticket and impress upon his mind not 
to forget anything. Tell him that the garment must be well made, finished, and have the style you 
stipulated. Then state your time when the garment must be completed and let him understand that it is 
necessary that he shall have it completed and brought to you for an examination by that time. After 
having told him of all these details give him a few cheerful words, something that will display your con- 
geniality and sympathy, and bid him good-bye. Remember that you must be friendly to your tailors and 
at the same time you must handle them so that they will respect you. 

232 



Coat Making 



Upon getting the coat back from try-on the tailor should thoroughly examine the details of instruc- 
tions received from the cutter, smooth out the various parts of the garment and proceed to put in new 
threadmarks where alterations have been marked. In sewing up the seams, instructions as to fullness, etc., 
should be followed to the letter. Having sewed up the side seams and padded your lapels, press the front 
into shape and re-mark the front as previously marked by the cutter. Lay on the lapel pattern given you 
by the cutter and mark around it carefully, then cut away all unnecessary material. Trim away your 
canvas 34 in- from the edges. Next fit out your facing and lining. Sew on the lining to the facing and 
put in your inside breast pocket. Having completed the linings, baste on stay tape around the front. 
Be sure that you hold it sufficiently short, but not too much, as one way is as bad as the other. After 
having felled down the stay tape on both sides, press over the fronts thoroughly. Also press the facing, 
inside breast pocket and lining and have the facing and lining so arranged that it harmonizes with the 
front part. Next lay the lining on the bench wrong side down. Lay the front part above same with 
the right side to the lining and baste as indicated in diagram G. See that you have the facing sufficiently 
long, but not too long. Baste so that the lower corner will turn inward, and in basting around the lapel 
be sure that there is sufficient fullness on the facing side. Then press from facing side, so that it will be 
smooth. Mark with the chalk the front edge where you are to sew. Next sew around the edge where 
marked. 

Next press out the seam of edge thoroughly; trim seam down to yi in. on each side. Then turn 
the edge and baste it down. In basting down be sure to hold the seam even in the middle of the edge, 
so that in stitching you are sure to catch both sides. See edge as illustrated in diagram H. Next, 
provide for sufficient fullness of lapel. Attach your inside breast pocket to canvas. Baste from the 
wrong side of the lining where the lining is sewed to the facing, and attach this seam to the canvas. 
Next baste the lining under in such a way that it will have sufficient length and width. Sew the seam in 
the middle of the back and press seam out. Turn up the bottom and stitch the first row of stitching 
around the edge ; then press edge thoroughly before stitching the second row. Having finished stitching the 
edges, take out the basting around them and press the edge thoroughly. Baste in the back lining and be 
sure it is long enough, but not too long, and allow a pleat in center seam. Should the lining be shorter or 
even in length with the goods, you will find there will be wrinkles on the outside ; therefore, the lining 
should average Y^ inch in excess of the outside goods. Having completed the basting under of the lining 
and turning in at the side seams, turn up the bottom of the lining in such a way that you can fell it Yz in. 
beneath the turn. Diagram I illustrates the way a garment should look after the lining has been basted 
under and the extra length required in comparison with the outside goods. Now make preparation for 
the bottonholes by noting that they are in the proper place, and in cutting them be particular that they 
are of the proper length, as a small button hole looks bad, and besides it is hard to button and wears out 
more quickly. They should not be too large, but they should be sufficiently large to permit of being 
buttoned without too much effort, and this will also eliminate the fullness and wrinkles around them when 
buttoned. In making buttonholes the tailor should exercise a great deal of care so as to make them 
soft and even. There are many good tailors who are not able to make good buttonholes. I have seen 
beautifully made garments spoiled by poor buttonholes, and I must say that good buttonhole makers are 
rare. The general fault in buttonholes seems to be that the makers put in too many stitches. It seems as 
if they were anxious to show the amount of work they had done on them. The fact is that when the 
stitches are too close it makes the buttonhole hard, and in consequence it wears out much sooner. If it 
had been worked with a moderate number of stitches in the proper direction and with the right kind of 
silk, an even looking buttonhole would have been produced and the softness given so essential for wear. 
The secret of a good buttonhole cannot be explained in writing or by illustration ; it must be explained 
and demonstrated in actual practice. 

Having completed the buttonholes in the best possible manner, re-mark the shoulders and baste them 
together. This is a very particular part of the work because it must be done exactly according to the 
directions given by the cutter so as to correspond with the alterations made in the try-on. At this stage 
of the making it may be well to take into consideration a second try-on. While I personally seldom have 



a second try-on, I will say to the students of Practical Tailoring, if you have any doubt as to the fitting 
points and balance of a garment, I would advise a second try-on to avoid busheling. Therefore, after having 
basted the shoulders together and basted the seams over, arrange the canvas, lining, etc., so they are 
smooth and even in the shoulder ; re-mark the line where it should be basted to the collar ; press collar 
into shape and baste it on. If I intended to have a second try-on I would baste in the sleeve as a reassur- 
ance that I had the right length and width in every particular. In preparing for a second try-on, I would 
pull out as many basting threads as are not absolutely necessary to hold the garment together. I would 
press the edges all around, smooth the lining and trim out any excess there might be in armholes, etc., 
and show up the garment in the best possible shape. See diagram J. 

In trying on the garment the second time I would carefully inspect every detail in the same manner 
as in the first try-on, and if necessary I would redrape the shoulders. While a second try-on would 





indicate inexperience on the part of the cutter, at the same time it would show that he was careful, and 
often a second try-on saves a great deal of busheling. In fact, if a garment has been tried on twice at 
the proper times, and properly handled, there should seldom be any occasion for busheling after com- 
pletion. After receiving the garment back from the second try-on and having received proper instruc- 
tions from the cutter, 'promptly note alterations, if any. Then again baste the shoulder together with 
the same care so that you have the fullness in the proper place according to the cutter's directions, and 
sew the shoulder seam by hand — a machine-sewed shoulder is never so satisfactory as a hand-sewed one, 
for the reason that the machine will stretch some and displace the fullness of the back. A hand-sewed 
shoulder will hold the seam short, as well as enable you to have the fullness properly placed. All good 
tailors sew the shoulder seam by haiiil. Next, press the seams out, and prepare to rearrange the canvas 



2.34 



in the shoulder. In doing this be sure the canvas is sufficiently long and wide and that it will harmonize 
with the cloth in every respect. Next arrange the lining in the same manner. Be sure to notice that 
neither canvas nor lining interferes with the outside goods in any way. Baste around the neckhole close to 
the line where the collar is to be attached. Give the shoulder and neckhole a thorough pressing; also 
re-press crease line of under collar into shape; test shape of same to neckhole; then re-mark line to which 
collar is to be basted. 

In basting on collar I would start at the back, basting toward the front of the left side of the coat, 
giving Ss inch fulness to the collar on the front part from the shoulder seam to the crease line, and hold 
the collar slightly short to the lapel from the crease line to the gorge. If the left side is satisfactory, 
start at the back of the neck and baste the collar to the right side, leaving the same amount of fulness, etc., 
as on the left side. Next, fell the collar down neatly ; also fell the inside edge to the collar ; take out the 
bastings and arrange collar and lapel on the pressing block in a way to give them a thorough shaping 
and pressing with the iron. Next mark off the width, etc., of the collar according to the pattern furnished 
by the cutter or the prevailing style. See diagram J. 

In putting on the top. collar be sure that it has been shaped so as to conform with the under collar. In 
basting it on notice that it fits the crease, and that there is a certain amount of fulness, especially at the 




DIAG. I. 

front end. Be positive that you have a turn of Y\ inch. After having felled the outside edge of the 
under collar to that of the turn of the top collar, stitch the first row before pressing. Also press the 
crease of the collar and then stitch the second row. 

In making the sleeves, see that they are of the proper width so as to conform with the armhole ; an 
average fulness of 2^4 inches should be allowed. For example: If the armhole measures 18 inches, 
the sleeve should measure 20-;4 inches, and be larger or smaller in comparison with the arm scye. In 
marking them off be sure they are of the proper width at the bottom, as well as over the elbow. Pre- 
pare and produce the cuff desired, and in seaming up the sleeve be sure it does not twist in any way. Also 
be sure that the sleeve lining conforms with the sleeve before seaming up. Having finished them ac- 
cording to regulations and instructions from the cutter, give the sleeves a thorough pressing oflf. Next 
carefully inspect the top of the sleeve, trim off any unevenness, if any, and give the sleeve lining ^ 
excess at the top as allowance for turn, which turn should also be basted down before fitting the sleeve 
to the armhole. Having properly finished the sleeve, re-mark the armhole and draw in the back of 
the armhole with linen thread; also draw in the front of scye a little with linen thread before basting 
in the sleeve. 

235 



In basting the sleeve to the armhole, start with the right sleeve at the front of the armhole. See 
that the notches meet and baste toward the back, giving about }i inch fulness to the under sleeve at the 
back of the armhole. At no place should the sleeve be held tight to the armhole. Hold it easy around 
the shoulder seams and give about lyi inch fulness from about 2^ inches to the front of the shoulder 
seams and down the front of scye. Now, if the right sleeve hangs properly, baste in the left sleeve 
in the same manner, and seam them in by hand. Press out the seam and place a little wadding in the 
shoulder and let it run down a bit in the sleeve. It is also well to leave the seam loose at the top of 
the shoulder. That is to say, do not fasten it to the canvas from the shoulder seam to about 3 inches 
above the front of scye. Finish armhole by felling the sleeve lining in carefully, and the coat is then 
ready to press off. 

In pressing off I have found it a good way to start with the shoulders, next the body of the coat, 
then the edges and linings, leaving the collar and lapels to the last. Be sure the coat is thoroughly 




DIAG. J. 

pressed and sponged, and in sewing on the buttons have them sewed on so they have a neck of % 
inch. Before bringing the garment in for the cutter's examination, give it a good preliminary in- 
spection. First: — See that the sleeves balance and have the proper fulness, and that the collar and 
lapels have the proper shape according to the style. Second: — -View the sleeves from the back and 
see that they fall gracefully, and also notice the general appearance of the back. Third: — View the 
shape of the collar by holding the coat up by the shoulders with both hands. Fourth : — Inspect the lining. 
See that it is of sufficient length and width ; also see that the felling and sewing have been properly 
executed. Fifth : — Take the coat by the back of the collar with the left hand and hold the lower end 
of the lapel with the right hand and be sure the collar is of the right length and proper shape. Also 
inspect the pockets and other details. Ascertain whether everything is in proper order, and if so the 
garment is finished. 

236 



Vest Making 



After having marked all points where the pockets are to be placed, as well as the button stand, 
proceed to cut inter-lining for vest. Take out ^ inch in armhole, and also 3^ inch at bottom of front 
in the interlining. Also insert a V of 3^ inch in shoulder of same. Next proceed to put in pockets and 
press the front parts thoroughly into shape and baste under the interlining. Tack the pockets through 
the interlining. Next give the front parts a thorough press over. Stretch the shoulders a trifle, also 
pressing in the edges all around opening, front and bottom. In putting on stay tape, be sure same is 
put on properly by holding it moderately short around opening, front and bottom. Having felled same 
down and pressed it thoroughly, seam on facing, press out the seams and trim them and turn over and 
baste down edge. Stitch first row of edge before pressing, then stitch second row. Turn in as much as 
a seam around armhole and after having finished buttonholes and inside breast pocket, baste under lining. 
Be sure it is long and wide enough, and in felling it down to the facings of front as well as in arm- 
hole, see that it is done in a neat manner. 

Pull out all unnecessary bastings and give front part a thorough press over. Finish up back by 
first sewing middle seam, and if straps are used place them in proper position. Join inside and outside 
back at bottom. Next place both front parts between the inside and outside back, and after having prop- 
erly basted them, sew side seam back of armhole and shoulder. Next turn vest by pulling out both front 
parts through the only opening, the neckhole. After having turned vest and smoothed it out, fit the back 
to strap at collar. Fell back down neatly and it is ready for press ofif. The press ofif should be done in 
the most careful manner, first by pressing over the front parts, then sponging, and finally smoothing the 
lining. Mark ofif the places of buttons, sew them on, and, if buckle straps, sew on buckle. Then give 
vest a thorough examination and be sure it has been properly completed. 



237 



T r o use r Making 



A good hanging pair of trousers can be procured only from a tailor who is careful and understands 
thoroughly the shaping of a pair of trousers. While it may be true that trouser making does not neces- 
sitate so experienced a tailor as coat making, it must be understood that a good trouser maker is a jewel 
to a merchant tailoring house, as they are scarce. A good trouser maker must know how to handle the 
press iron and produce proper shape. The most important points in trouser making are as follows : 

See that the front part is held in 34 inch from crotch to 5 in. below. Hold the front part a trifle short 
in curve of front. Put pockets in both front and back parts, and be sure they are properly placed and 
stitched. Stretch the front part slightly on each side near the bottom. Stretch the back part at knee 
on outside edge and press in calf on outside edge. Stretch inside edge from knee up. In joining the 
front part to the back part be sure the notches meet at the knee and that the trousers balance properly 
and do not twist in any way. Having pressed out the seams and finished placing the canvas in waist 
band as well as in button fiy, and lined and turned over the side where buttonhole fly is to be 
placed, give the waistband and flys a thorough press over. Next arrange the seams so they meet at the 
bottom and place them so that the inside seam is 2 inches to the back of outside seam at crotch. 
Press the trouser legs into proper shape. Be sure to shrink the back part at crease from knee up. 
Press calf into proper shape. Crease front all the way down and shrink in front at instep near bot- 
tom. Next see that buttonhole fly is properly placed. In joining the two parts together sec that they 
measure correctly around the waist. The back seam should under all circumstances be sewed by hand. 
Next measure ofT the inside length of trousers from the crotch down. Be sure they are up to measure- 
ment, and in turning the bottom it is well to soap the crease so as to make it firmer at the bottom. Fell 
the turnup down in a neat manner and sew a cloth protector 4 in. long to the bottom of the back part. 
Carefully mark ofif and sew on buttons in the proper places on waistband and fly. Next be sure the 
lining at top part is properly placed and smooth when felled down. In pressing ofif the trousers be sure 
to do all shaping from the wrong side ; also take out creases before turning. Press the bottom thor- 
oughly all around. After having turned them, give the top of the trousers, including the pockets and 
flys, a thorough press off. Next lay the trousers so that the inside and outside seams meet at the 
bottom, and see that inside seam is 2 in. toward the back of outside seam at crotch. Press both sides 
and both legs in the same manner and take out crease around bottom. Having thoroughly pressed 
over all parts of the trousers, re-measure the length of inside seam, as well as waist, so as to be satisfied 
that you have the correct measures, and finish. 



zae 



19Cy 







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